Podcasts about superstar dj

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — 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 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

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — 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 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

s u c k e r p u n c h. The kid will never go to sleep, You know The boy will never rest He'll never do his best, you know He'll never do his best She'll never be the best you know She's never out of bed She'll never see the sun you know ‘It's only in your head' The boy will never drown, you know You know the boy's so cold You might go out for now, you know But you'll go home alone He'll never hit the ground, you know The boy will never rest The boy will just go down, You know As history at best (The girl is staring out the window as the frost comes out their mouths) Fresh from the land of a thousand suns And I still don't know which stone to land on No random environment; I underwent the whole attorney And still met with resistance I just asked for an amphetamine as if it was A supplement to my existence In fact, it is, An edifice or addition to my nutrition deficit And I says, For whatever's lost but goes on, Fight for rich or poorer – while the poorer suffer longer. No longer argue my agreements, Distance to whatever's after There I rest upon the sober throne, And throwing watermelon seeds into the ground as stones, For may as well without the water And also sure to rot, Or waste as rats, Computer paper, There again Recycling bins of compost Just for show, but not for shredded wager No, no longer or wonder my nonsense, In fact, I, raging there had kept no more a suffer than a secret to be sure of here— And sure of her I was and sheer and gathered Torment your emotions, Also just to want but not to have As those that matter. So I've called in all the white clothes Now we represent with denim. And I'm stuck inside your television Stuck inside your television Don't you know you've shown you're weakness in the purest of hatred, Separating yourselfs as the basis for this Depreciation? Wonder, again I wonder And still no sad trombones, Only stories, and somber surfers And solemn whores and silent wars with words And sundries From the land of one thousand suns And a thousand sons you've lost A thousand wars, A thousand girls who want you Gathered over rails and velvet theatre ropes for it Rare. But slightly often scored, Parched, And barely long forgotten, Tipping, And waiting only This bitch comes on the train and smells like soup. Don't look at me as if I'm the one to have done something, I've no cardboard box but rather lift my chin at Whole Foods market over bags or water. You know it? I also do that for the dozen, No trend follows, or feathered gathered, Hollow winds and tunnels Tunnels sent and shadows I hadn't been pin pricked I never been picked out Blow the candles for which wish? I've been ever been bound to love Or celebrated by another besides my mother But here's some sensory deprivation, Overstimulation lol I love getting on the train and just happening to see a dude who is not listening to his dumb fucking girlfriend But she won't shut the fuck up He's just standing there like “Clearly I'm getting sex out of this” And she won't stop talking. I love that. I'm like “bitch, shut up.” He's like, “Help me.” I'm like, Not my problem, broskies, You better look interested instead of over here. Anyway, another year's gone by and no one's here for me. Anyway, another son was born without my honor. Anyway, I want to lap it up like all the water on the floor Before I realized it was gold, And I was slaughtered No use crying over spilled galaxies, Still you're trapped in I, And I'm found to want more than I decided If I'm divided and clustered up And yet I'm divine then, I should gather all I've had Combine it into one —and yet Another columbine has come As if they're all occurrences, Just set to Apple Watches And broadcast t'all the provinces. In a cinch I've just realized I've the trench coat to match your jacket But no longer the converse all stars And you've seen to washed yours off from my angle Simple single triangle and spheres for fears of masturbating, Crash the grate at all the hours, Never really gravitating for anything important, Only alt-right Can't afford that All your penlaltied for real to mean political rallies or ambitions act as barriers to those that actually ally. Who am I? That's right? I can't belay in body! Oh, I can't to grip the shadows Boxing with the cat for your night V.O We were friends with the humans— Most of our job is finding out what happened with them. Future people Vintage potluck All out time And all our hard work All our bad luck All our warns Fell on her shores as lodes for her Oh, How his legs fall so calmly one over the other Or, How his songs flow not as words, but heart strings Our melodies will walk in chords for all time For now if ta zzz A as te r What a brilliant blue, Yea, in fact, its cerulean Yes, in fact, if you can Facts to rule them all, so If you fax, try to call, here goes all your worry Here's your love; None For the facts you were sure to walk about, now you're our, gone From the top Don't ever forget you're on watch I've got a whole heart full of freedom Just don't look up from your phone e They brought you up now pull you down a bit You're a clown, it seems But no activists They heil Hitler in central Bedford No articles of new clothing l, huh? They love to watch all your digging They call it hyper vigilance m because the whites in New York can be so violently racist m Their strength lies not only in money and power but nearly balanced numbers Which justifies their hurtful and aggressive actions as adaptations to the changing world They see themselves as the controllers Still slave master but in such a context That they mask the hatred that lies under the surface as social issues of another kind Why existing in white neighborhoods in less than perfect black skin seems to hurt in another way you can't always tell the doctor What if covert racism doesn't hurt as much– (or never, ever-after) Mister Jimmy you're out of touch. Mr. Chaos you're out of God. Ms. Divine, you're not enough Ms. Monroe, you're out of love A dozen is a dozen Hallmark roses I still love my ‘ol Miss Molly I still love my golden trophy Mr. Trump, You're out of touch Mr. Moore, You're out of line Ms. Monroe, you're not enough Mr. God, you're out of love But I still love my ol' Miss Molly I still love my golden trophy I still love my Hollywood, Golden boys I still love my silver screen And golden eras, I still love my world before love I still like my alma mater But i'll never ever love her I put out for dear Miss Molly I get up for four-door wallets I belong to none or nothing I should die, I don't belong here I still call her over after Don't belong here under, over I still love my golden boys though I still love my golden trophy Mister Jimmy, you're out of touch. F I can very much count you out; E I can very much drift away G I can very well close my eyes. Am What do you want me to say? You want the whole thing? Well what a fun night. It was a hard roll; it was a good time It was a hard come down, though A hard fuck It was a hard laugh; I wrote a good book We took a long ride; Then smoked a long blunt Woah Hush now, good fan Come and take a hard roll A long stroll a hot dance I want to take a half more The comedown was hard, But i just got the honor roll Come down, good fan I want to hold your hand now I want to take a good pause I want to have a hard roll Calm down, good fan I'm headed for your heart now (i want to take a hard fall, I want to take a hard roll) Come on, good man I wanna get a hard on I wanna take a hard fan I want to have a hard fuck I'm going for your heart now I want to have a long roll I'm going for your heart now I want to take a good smoke Yeah, and it's something like that And i look both ways before I cross the Cut the road Yeah, i hate myself as well But i know you don' But you know, we're all getting older It just goes more post mortem To hold secrets inside Pass over regrets and don't touch em Like you don't want em But you don't want No one else And you don't wanna run So you either say hello to the dog Or bark, And then jump back I have you on speed dial But I misfire T total recall I don't call blocked numbers but still number one d-d-don't be a retard, Work harder Learn more than your other parts To control them supermanteras Entourage Tata- Ratata Don't be retarded Rat poison for supper Rat poison for supper And politics for something sweet afterward You heard of the knowledge? You heard of the good book Good one, Doctor I'll run harder next workhour Cause we're all undercooked And we're all overdone on the outside still half frozen in the gut though, You know You know? Enjoy your holiday supper Enjoy your apartment Enjoy your destruction I'm just getting started corrupting your disk drive Full system failure! Fill system failure! Full Jimmy Fallon! I mean– Redact that. Don't be retarded. Run out of water! We're all out of order! I might as well pull the plug Or just more fires. I got hard times under And hard times covered No hard times coming cause Look, I got smarter (don't be retarded) I got semi sweet chocolate And lessons And lovers And neighbors And demons and evil around I So who could have thought That the work of God was just [us, at it] At first, i thought nothing, and then all at once, All it was, as is. While I hope that one day for me, there's a me And a man in a meadow No time to decide however, how long I can act as irreverent, The single disciple, the limitless modem,, the signal to imminent the I took a misstep, I went the wrong way I thought I was done, but I should be on stage Just pretend It's imminent; My relapse, As a drug I take it in in increments Collapse; My photographic image memory Serves me perfectly A classical caricature And still I'm sure it's supposed to hurt (Still I'm sure it's supposed to hurt) I'm here in present tense An artifact and image Inside all the builds and relics Mr. Tim is here When Mr, Night Guy gets too perfect Ties it on a bit for treasure chests And pleasure's never where the head will reac, dear Here hearts Silk eyes Don't trust Tame scarves Legwaemwss Silk ties Autographs Silk ties Autographs Silk ties Autographs Silk ties Autographs Wedding bells And autocrats Grandfather clock and pendulum And scarities and garish art, And murderers upon the dusk The carriage sure to'ave spoken Crypt sinking, There faultlines, now quaking My hind legs are to shore And still my forelegs tip So why am I envious? It isn't athletics, I promise Its pages and pages Poems and proses Keep it together karassndra Why are you out all alone in a war zone without a gun? Why are you out with the bomb squad in a rainstorm Why are you known amongst all the lands? You won by a landslide but by a show of hands And a slight side of hands And a show to the world that you own what you're on, Let them come hold enough to hold you down with the motorcycles. No country for old nothing When the highlight of your whole life Is the subdural hematoma growing to the surface. And you were sure before you'd never have that part of your symmetry in tact again See how the devil surrounds us when we interact with God and pure genius Human will always kill God; He doesn't understand it The attacks and the tactical wall for sure come to a close; The whole empire is falling And Heaven is calling us home; This has been just a warning I'm still hiding j. The closet; I'm sure to fly your hawk back, homing, Nothing like a good pigeon, depending on the moment And deepening hour disinterest in anything? See how evil walks amongst us When you haven't come upon it in a moment Or have all your other targets lined up— Do remember dear ther it all comes back to haunt them When they're all younger And haven't been tortured yet The fun part first and the war part after; Sure to suffer if you're sure to hurt her Sure to muder for a quarter or a tucked shirt Sure to give a shit if just my mister in a basket Do you understand that? I won't Good good Goddamn I might have a heart attack I might have to kill myself I hate this place I'm tired now I dropped my hat . I'm an individual Stuck in a simulated and subject collective consciousness I'll tel you where the problem is I promise this It seemed more like a tactical marketing strategy than an actual accident, knowing the type of superstar Sonny had become. Yet, I couldn't help but give it a second thought, almost admiring it—whatever it was—as there is no such thing as bad press. As it all played out over social media—which I obstinately rejected, but however so embraced by those in what one used to call "the arts"—it felt undone; It was now strictly business within those very same markets. Here was this, an apparent plagiarism based on ‘outsourcing' a simple photo for a follow-up single to an album I knew I could not be moved to listen to, even after months. I had spent my own time, in a torturous chaos sense, researching these sorts of psychological tactics and strategies of such conglomerates. It seemed almost as if the negative and seemingly coincidental exposure was in congruency with the so very Skrillexian need to stay relevant to the newer age in changing times. He seemed to embrace some sort of artistic evolution, at least from what I could sense at a long and strong distance. However, my ability to understand the article I'd very much by accident stumbled upon—while overlooking my own dilapidated ticket stubs on Resident Advisor—cautioned at the kind of humbled and grown logic that had become what was left of my womanhood. I had in so many ways made a fool of myself, an embarrassment for what I thought of at the time in the name of love. Still, in all this time, I was so desolated and alone that it had become such an apparent and distraught sense of waking up to what formerly was. With this, I thought one of two things. I knew this Sonny, like most men of prestige, power, and great wealth, had devised his team of sharp-witted, intelligent, beautiful women. This apparent slip-up over the artwork for his latest endeavor—which I had, for every reason, protested in defense of my own dignity—was perhaps the result of a beautiful woman without creative ingenuity stealing the artwork in bad taste, as evidenced. Or—even more cunning—this was the wit of a trained and marginalized soldier in the art of programming. The apparent plagiarism was, in fact, another brutal and hollow Skrillefied market for attention. Over the last decade, he had no shortage of the ability to create and draw eyes to whatever art or concept was forced out of the mechanized monster. Still, there was a sharp growl. I knew I was meant to find this as a reminder of what I'd find if I looked any further or listened to his music anymore: a rise in sharp numbers, mass appeal tactics, and this-or-that shallow hogwash of distinctly skeletal bodies and avant-garde aesthetics. It pointed at the unachievable from my eyes and standpoint. It was the rockstar air and attire of everything I wasn't: strictly thin Hollywood or other ideals to which the construct was entitled, but I wasn't. I had to set out on my own way because what I had intended with music was jumbled into appearances, pornographic sexualities, and masculine dominance. It meant I had aged out of the desirability and affect these very same masses were being marketed from. Sure, I understood that the Skrillex project had established a sort of order for what the electronic festival industry wanted. But I also wanted something else accomplished in my time that wasn't just being some shallow, hot-girl, obscure go-after. The entire time, I had been under the impression of a duality of magnetism I often still had difficulty loosening myself from—that this illusion of an emotional tie or loveness, outside of what was a physical or illustrious concept, had no substance within the business at its core. It was, to say the least, a heartless world and a heartless business. Now that my own music was without purpose, I could forever distance myself from the other masses—the consumer-prosumer-commercialized "artists" that had sprung up out of access to the direct-to-streaming music market via technology and disposable funding. I had no way of embodying my mind to do away with the parts of me that needed to change to become one of them—in the sense that if my music looked and sounded alike, I would be embraced. But I was far from being the type of consciousness that had formed seemingly with the twist of a knob or an Ableton shortcut by one of electronic's founding fathers. In an unfortunate way, I had finally realized he was just that. — 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 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

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

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

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

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

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

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

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 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 or sociopolitical targeting) 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 a targeted individual. As it stands, It has become a modern sequel which adequately and astonishingly 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 for financial and political gain. 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 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 tactical 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

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 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 or sociopolitical targeting) 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 a targeted individual. As it stands, It has become a modern sequel which adequately and astonishingly 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 for financial and political gain. 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 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 tactical 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

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 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 or sociopolitical targeting) 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 a targeted individual. As it stands, It has become a modern sequel which adequately and astonishingly 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 for financial and political gain. 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 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 tactical 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

I'm no complete Christian, but the bizarre act of hacking and spewing and gasping by whoever was next door while I was reading the Bible was telling of its claims. “that girl really fucked you over.” I wasn't sure what exactly the voice was besides the voice of God itself, or maybe even the same voice who had warned me who'd win the election and was right, and so eternally and internally always kind of a voice I trusted, and besides that, I was sure it see right. The evil girl next door had really fucked me over— not just in one way, but several, and finally culminating in no longer even having an apartment. She had fucked me out of an apartment! The more I complained about her door slamming, incessant obsessive stalking, and the way she played mind games whenever she could find me about in the small space between our two doors, it was nothing short of her method of targeted warfare— to have given me a plant was for her to be able to say she was trying to be my friend, but everything else she did around that was evil, and the more I complained about the door slamming, the stalking my door and setting up loud conversations just outside of it in order to irk me, slamming the door each time I took a bath or a shower, or used the toilet for several months, she had indeed fucked me over, and run me over, and I was lost— I didn't understand that people could just be like that and I didn't want to just attribute it to race, but she was a white girl, and all the red flags and flares indicated that the game she was playing was race war— her goal to return me to the streets or the shelter where she could presume her dominance in the structure of social culture because it made her so uncomfortable that we had the same thing. She had never been inside of my apartment, but she was aching the entire time to get in, and the entire overall factor was, that I just never felt safe around her, despite her broad gestures and gifs and supposed openness— her words and her presence spoke an entire hidden language, telltale signs of betrayal, and maliciousness, and as much as I wanted them all in my head, they were not. Now the new property manager seemed to be taking her side, and her actions seemed more egregious— knowing I had come here from the shelter meant that there were entire parties of people enraged that the city was helping people to come out of homelessness and to bridge the gap between homelessness and inequality, but it was easy to see over the course of the gentrification process that white people were mad at this equality, and acting out, and even acting very outrageous, and the problem with me personally was that I wasn't even from New York, or out of the system in a certain way, but the people who were treating me with such degradation and disrespect couldn't see that. They could only see “black” and “formerly homeless”. What's worse, is they couldn't see the many books I'd written or art I'd made, and this contributed to their overall devaluation in my kind— or worse, they could, like the girl next door, who had read an excerpt of my writing under the guise that she was a helpful person, and had become enraged with dissolution and jealousy; it was as if she couldn't understand that not only might I be equal to her, but even intellectually superior in a certain way, or at the very least artistically superior, and began to act in such a destructive way that paired with the noise form the morortcycles and incessant harassment from outside the apartment which bled into all spaces of the apartment throughout the day, combined with her incessant door slamming and disruption to anything I did while I was at “home”, which never felt like home because of these things exactly, it made me seem crazy and ungrateful any time I complained to the property management, and that seemed to be the game. I even surmised that she was connected to the noise from outside and the particular strangeness that someone seemed to be listening to me inside the apartment as well, as she had somehow seemed to know things I was talking about on my unpublished podcast episodes— things she could not have possibly heard from next door, which meant there was some sort of audio recording on the premises she had access too. It became a cat and mouse game, because she knew where I was in my apartment and began to attack my psyche anytime I was in the apartment, and especially when I attempted to create. Now, facing almost certain death and removal from the only stability I'd ever known, it was partially due to this incessant and rampant behavior that I was almost always at a loss. I had once again been bullied out of something I desperately needed by a white girl who felt justified and untouchable— only this time, it was more serious. I wasn't just in trouble at school, or some kind of job— she had manipulated things in such a way that this time I was out of a place to live— under the guise that she was a good person, giving gifts and acting strangely friendly, she had planted seeds and initiated acts of warfare, and in the recovery process of having left abusive situation after abusive situation, it was hard to wrap my mind around the fact that this was yet again another one. I kept telling myself it was only in my mind, despite the evidence of otherwise. That she was not evil but simply ignorant, or misguided, and aloof because of her privelege— but now, understanding that once again I may have no where in my own country to go, I understood the earth shattering truths of equality and integration, and gentrification. Not only did they want to bring in wealthy whites and Asians, they wanted (and needed) to push poor blacks and Latinos out, because of the value the white people placed in themselves. Too many of us made them feel weak and vulnarable, and insecure— and I was certaint that reading over my writing the girl had felt she'd met her match— that even my presence at all was a threat, not just because I was black, but because I was smart. So the way she contributed to the forces of white power was the simple way the race war continues to be fought— by working on the mind, forcing it to weaken and crumble by slamming things during times of vulnerability— baths, showers, toilet use— and that way, for months at a time, I no longer felt safe at all, and of course, it was ungrateful to complain— I should just be happy to have a place to sleep that was my own. But to have peace and quiet and sanity, recovery and health? How could I ever deserve that? In fact, I didn't deserve it, and they made it clear— and there surely was a dorrelation between the noise outside and the noise inside: somebody was trying to make a very violent point— and they were using me to do it. They had effectively dismantled my ability to focus, and the. Intercepted my strength— I had a Peloton for cardio, and a small treadmill— but lifting and strength training was out of the question; this was trademarked by the sudden appearance of a man paid to follow me into the small gym in the buildings— a man who looked enough like the man who had beat me in front of my two children, stolen my son and intercepted my every attempt to care for him, or even be in his life. This man, grunting and mumbling rap lyrics, would throw the 30 pound dumbbells from a over his head, sending them crashing to the floor across the room— absolutely unnecessary and unacceptable behavior, which I had at one point even captured on video, however, my visits to the gym ended when I decided to leave my phone in the apartment and I had been followed there by the same man, who threw the weights from above his head and acted like an animal. I simply picked up the weights and placed them on the treadmill as he lifted at the tension machine, grunting and mumbling rap lyrics, then silently walked away. I never returned to the gym again— this had gone too far, but overall since it was an obvious plan to diminish my ability to fight what was happening with the noise by staying strong, this strategy had worked. Now all I could realistically do was cardio, which took too much time and effort in order to reach what I had been doing in the gym beforehand— now that my psyche was being dismantled, it remained important to kee me awake during the day with the noise, so that I could not attend the gym at night, because I didn't have the energy to function anymore. I was a trapped animal, and these sick mind games were nothing short of warfare. It had to be a government institution or privatized force, because their resources were immense— nothing like this could happen without a militarized approach; weaponizing people as effective weapons and dismantling my livelihood by any way possible was indeed an act of torture and psycholical warfare. I was isolated, without family or friends, and disconnected from any stable income— job after job application not simply denied, but ignored, as if my efforts were going into a black hole of nothingness. Then, it did seem as if all of my technological communications had been altered-1 my phone calls monitored and my internet history avalible to someone unseen, but not unfelt. It just so happened that the neighbor might be one of them, and that because I had no way of continuing my training regimen without being followed by strange men, who would then act in abrasive ways to further psychologically destruct what should have been strength training and recovery, I was weakened, not by one thing, but an entire organization of many. Just then, writing and luckily somehow also recording, standing between the door and the bathroom after raising out of the bathtub, the merciless noise continued— a loud crash against the wall as I stood naked in the walkway of the apartment with a towel draped over my shoulders sent my heart shrieking and pounding into the cavern of my stomach— not just my entire heart racing but my gut wrenching with the beating of my heart…. “File that.” I was standing over the doorway in the bathroom, still gripping the pslams of the first testament in my hand, but I didn't understand anymore what things to ignore and what to not. I assumed that it was just more mind games and frequency manipulation and that God itself had nearly been lost. In my time in the apartment, I became more connected from disconnected from the source in the way I knew it and had learned how to internalize God. I could no longer pray freely out loud— someone was listening to me in my apartment, and when I did speak, the noise was arranged to rile up until it shattered me, and I was quiet again. —Tales of a Superstar DJ. When was he ever a long hair, but here? I went to bed two hours ago, But perhaps when I sleep I dream of you Suppose that waking life's a nightmare And when I look in the mirror I see your eyes there I need you to go to my apartment; I'll be dead by the time you get there; Don't worry, you won't find my body I went over the edge elsewhere I left you a note and some postcards; The letters I put in the post beforehand I need you to publish my books, my friend Or no one will ever know of them I left you a pen name Who are you Where you from What'd you do for ten years I dont know Congrats from your accolades From the academy Down the hatch The overwhelming message of the thing was, that because this girl was white, she could do whatever she wanted to me. To act however she pleased, or be as horrible as the wanted without recourse ir reprimand, and I could only assume that because I was now being pressured and rushed to hurriedly do things that I couldn't have done under the stress of the noise and harassment, that it was someone acting in favor of the regime of white dominance and structured power— that equality was not only ineffective, but impossible, because it was not what they wanted. The illusion of equality was better because in that way, they maintained control over our minds and our bodies in the same way slavery had structured—and though they could no longer truly own us in one way, they still could in another, and this is how they maintained their humiliation and disrespect, the dehumanization of war— by creating the illusion that it was peace. Copyright The Collective Complex © [The Festival Project, Inc. ™] All Rights Reserved -Ū.

I'm no complete Christian, but the bizarre act of hacking and spewing and gasping by whoever was next door while I was reading the Bible was telling of its claims. “that girl really fucked you over.” I wasn't sure what exactly the voice was besides the voice of God itself, or maybe even the same voice who had warned me who'd win the election and was right, and so eternally and internally always kind of a voice I trusted, and besides that, I was sure it see right. The evil girl next door had really fucked me over— not just in one way, but several, and finally culminating in no longer even having an apartment. She had fucked me out of an apartment! The more I complained about her door slamming, incessant obsessive stalking, and the way she played mind games whenever she could find me about in the small space between our two doors, it was nothing short of her method of targeted warfare— to have given me a plant was for her to be able to say she was trying to be my friend, but everything else she did around that was evil, and the more I complained about the door slamming, the stalking my door and setting up loud conversations just outside of it in order to irk me, slamming the door each time I took a bath or a shower, or used the toilet for several months, she had indeed fucked me over, and run me over, and I was lost— I didn't understand that people could just be like that and I didn't want to just attribute it to race, but she was a white girl, and all the red flags and flares indicated that the game she was playing was race war— her goal to return me to the streets or the shelter where she could presume her dominance in the structure of social culture because it made her so uncomfortable that we had the same thing. She had never been inside of my apartment, but she was aching the entire time to get in, and the entire overall factor was, that I just never felt safe around her, despite her broad gestures and gifs and supposed openness— her words and her presence spoke an entire hidden language, telltale signs of betrayal, and maliciousness, and as much as I wanted them all in my head, they were not. Now the new property manager seemed to be taking her side, and her actions seemed more egregious— knowing I had come here from the shelter meant that there were entire parties of people enraged that the city was helping people to come out of homelessness and to bridge the gap between homelessness and inequality, but it was easy to see over the course of the gentrification process that white people were mad at this equality, and acting out, and even acting very outrageous, and the problem with me personally was that I wasn't even from New York, or out of the system in a certain way, but the people who were treating me with such degradation and disrespect couldn't see that. They could only see “black” and “formerly homeless”. What's worse, is they couldn't see the many books I'd written or art I'd made, and this contributed to their overall devaluation in my kind— or worse, they could, like the girl next door, who had read an excerpt of my writing under the guise that she was a helpful person, and had become enraged with dissolution and jealousy; it was as if she couldn't understand that not only might I be equal to her, but even intellectually superior in a certain way, or at the very least artistically superior, and began to act in such a destructive way that paired with the noise form the morortcycles and incessant harassment from outside the apartment which bled into all spaces of the apartment throughout the day, combined with her incessant door slamming and disruption to anything I did while I was at “home”, which never felt like home because of these things exactly, it made me seem crazy and ungrateful any time I complained to the property management, and that seemed to be the game. I even surmised that she was connected to the noise from outside and the particular strangeness that someone seemed to be listening to me inside the apartment as well, as she had somehow seemed to know things I was talking about on my unpublished podcast episodes— things she could not have possibly heard from next door, which meant there was some sort of audio recording on the premises she had access too. It became a cat and mouse game, because she knew where I was in my apartment and began to attack my psyche anytime I was in the apartment, and especially when I attempted to create. Now, facing almost certain death and removal from the only stability I'd ever known, it was partially due to this incessant and rampant behavior that I was almost always at a loss. I had once again been bullied out of something I desperately needed by a white girl who felt justified and untouchable— only this time, it was more serious. I wasn't just in trouble at school, or some kind of job— she had manipulated things in such a way that this time I was out of a place to live— under the guise that she was a good person, giving gifts and acting strangely friendly, she had planted seeds and initiated acts of warfare, and in the recovery process of having left abusive situation after abusive situation, it was hard to wrap my mind around the fact that this was yet again another one. I kept telling myself it was only in my mind, despite the evidence of otherwise. That she was not evil but simply ignorant, or misguided, and aloof because of her privelege— but now, understanding that once again I may have no where in my own country to go, I understood the earth shattering truths of equality and integration, and gentrification. Not only did they want to bring in wealthy whites and Asians, they wanted (and needed) to push poor blacks and Latinos out, because of the value the white people placed in themselves. Too many of us made them feel weak and vulnarable, and insecure— and I was certaint that reading over my writing the girl had felt she'd met her match— that even my presence at all was a threat, not just because I was black, but because I was smart. So the way she contributed to the forces of white power was the simple way the race war continues to be fought— by working on the mind, forcing it to weaken and crumble by slamming things during times of vulnerability— baths, showers, toilet use— and that way, for months at a time, I no longer felt safe at all, and of course, it was ungrateful to complain— I should just be happy to have a place to sleep that was my own. But to have peace and quiet and sanity, recovery and health? How could I ever deserve that? In fact, I didn't deserve it, and they made it clear— and there surely was a dorrelation between the noise outside and the noise inside: somebody was trying to make a very violent point— and they were using me to do it. They had effectively dismantled my ability to focus, and the. Intercepted my strength— I had a Peloton for cardio, and a small treadmill— but lifting and strength training was out of the question; this was trademarked by the sudden appearance of a man paid to follow me into the small gym in the buildings— a man who looked enough like the man who had beat me in front of my two children, stolen my son and intercepted my every attempt to care for him, or even be in his life. This man, grunting and mumbling rap lyrics, would throw the 30 pound dumbbells from a over his head, sending them crashing to the floor across the room— absolutely unnecessary and unacceptable behavior, which I had at one point even captured on video, however, my visits to the gym ended when I decided to leave my phone in the apartment and I had been followed there by the same man, who threw the weights from above his head and acted like an animal. I simply picked up the weights and placed them on the treadmill as he lifted at the tension machine, grunting and mumbling rap lyrics, then silently walked away. I never returned to the gym again— this had gone too far, but overall since it was an obvious plan to diminish my ability to fight what was happening with the noise by staying strong, this strategy had worked. Now all I could realistically do was cardio, which took too much time and effort in order to reach what I had been doing in the gym beforehand— now that my psyche was being dismantled, it remained important to kee me awake during the day with the noise, so that I could not attend the gym at night, because I didn't have the energy to function anymore. I was a trapped animal, and these sick mind games were nothing short of warfare. It had to be a government institution or privatized force, because their resources were immense— nothing like this could happen without a militarized approach; weaponizing people as effective weapons and dismantling my livelihood by any way possible was indeed an act of torture and psycholical warfare. I was isolated, without family or friends, and disconnected from any stable income— job after job application not simply denied, but ignored, as if my efforts were going into a black hole of nothingness. Then, it did seem as if all of my technological communications had been altered-1 my phone calls monitored and my internet history avalible to someone unseen, but not unfelt. It just so happened that the neighbor might be one of them, and that because I had no way of continuing my training regimen without being followed by strange men, who would then act in abrasive ways to further psychologically destruct what should have been strength training and recovery, I was weakened, not by one thing, but an entire organization of many. Just then, writing and luckily somehow also recording, standing between the door and the bathroom after raising out of the bathtub, the merciless noise continued— a loud crash against the wall as I stood naked in the walkway of the apartment with a towel draped over my shoulders sent my heart shrieking and pounding into the cavern of my stomach— not just my entire heart racing but my gut wrenching with the beating of my heart…. “File that.” I was standing over the doorway in the bathroom, still gripping the pslams of the first testament in my hand, but I didn't understand anymore what things to ignore and what to not. I assumed that it was just more mind games and frequency manipulation and that God itself had nearly been lost. In my time in the apartment, I became more connected from disconnected from the source in the way I knew it and had learned how to internalize God. I could no longer pray freely out loud— someone was listening to me in my apartment, and when I did speak, the noise was arranged to rile up until it shattered me, and I was quiet again. —Tales of a Superstar DJ. When was he ever a long hair, but here? I went to bed two hours ago, But perhaps when I sleep I dream of you Suppose that waking life's a nightmare And when I look in the mirror I see your eyes there I need you to go to my apartment; I'll be dead by the time you get there; Don't worry, you won't find my body I went over the edge elsewhere I left you a note and some postcards; The letters I put in the post beforehand I need you to publish my books, my friend Or no one will ever know of them I left you a pen name Who are you Where you from What'd you do for ten years I dont know Congrats from your accolades From the academy Down the hatch The overwhelming message of the thing was, that because this girl was white, she could do whatever she wanted to me. To act however she pleased, or be as horrible as the wanted without recourse ir reprimand, and I could only assume that because I was now being pressured and rushed to hurriedly do things that I couldn't have done under the stress of the noise and harassment, that it was someone acting in favor of the regime of white dominance and structured power— that equality was not only ineffective, but impossible, because it was not what they wanted. The illusion of equality was better because in that way, they maintained control over our minds and our bodies in the same way slavery had structured—and though they could no longer truly own us in one way, they still could in another, and this is how they maintained their humiliation and disrespect, the dehumanization of war— by creating the illusion that it was peace. Copyright The Collective Complex © [The Festival Project, Inc. ™] All Rights Reserved -Ū.

I'm no complete Christian, but the bizarre act of hacking and spewing and gasping by whoever was next door while I was reading the Bible was telling of its claims. “that girl really fucked you over.” I wasn't sure what exactly the voice was besides the voice of God itself, or maybe even the same voice who had warned me who'd win the election and was right, and so eternally and internally always kind of a voice I trusted, and besides that, I was sure it see right. The evil girl next door had really fucked me over— not just in one way, but several, and finally culminating in no longer even having an apartment. She had fucked me out of an apartment! The more I complained about her door slamming, incessant obsessive stalking, and the way she played mind games whenever she could find me about in the small space between our two doors, it was nothing short of her method of targeted warfare— to have given me a plant was for her to be able to say she was trying to be my friend, but everything else she did around that was evil, and the more I complained about the door slamming, the stalking my door and setting up loud conversations just outside of it in order to irk me, slamming the door each time I took a bath or a shower, or used the toilet for several months, she had indeed fucked me over, and run me over, and I was lost— I didn't understand that people could just be like that and I didn't want to just attribute it to race, but she was a white girl, and all the red flags and flares indicated that the game she was playing was race war— her goal to return me to the streets or the shelter where she could presume her dominance in the structure of social culture because it made her so uncomfortable that we had the same thing. She had never been inside of my apartment, but she was aching the entire time to get in, and the entire overall factor was, that I just never felt safe around her, despite her broad gestures and gifs and supposed openness— her words and her presence spoke an entire hidden language, telltale signs of betrayal, and maliciousness, and as much as I wanted them all in my head, they were not. Now the new property manager seemed to be taking her side, and her actions seemed more egregious— knowing I had come here from the shelter meant that there were entire parties of people enraged that the city was helping people to come out of homelessness and to bridge the gap between homelessness and inequality, but it was easy to see over the course of the gentrification process that white people were mad at this equality, and acting out, and even acting very outrageous, and the problem with me personally was that I wasn't even from New York, or out of the system in a certain way, but the people who were treating me with such degradation and disrespect couldn't see that. They could only see “black” and “formerly homeless”. What's worse, is they couldn't see the many books I'd written or art I'd made, and this contributed to their overall devaluation in my kind— or worse, they could, like the girl next door, who had read an excerpt of my writing under the guise that she was a helpful person, and had become enraged with dissolution and jealousy; it was as if she couldn't understand that not only might I be equal to her, but even intellectually superior in a certain way, or at the very least artistically superior, and began to act in such a destructive way that paired with the noise form the morortcycles and incessant harassment from outside the apartment which bled into all spaces of the apartment throughout the day, combined with her incessant door slamming and disruption to anything I did while I was at “home”, which never felt like home because of these things exactly, it made me seem crazy and ungrateful any time I complained to the property management, and that seemed to be the game. I even surmised that she was connected to the noise from outside and the particular strangeness that someone seemed to be listening to me inside the apartment as well, as she had somehow seemed to know things I was talking about on my unpublished podcast episodes— things she could not have possibly heard from next door, which meant there was some sort of audio recording on the premises she had access too. It became a cat and mouse game, because she knew where I was in my apartment and began to attack my psyche anytime I was in the apartment, and especially when I attempted to create. Now, facing almost certain death and removal from the only stability I'd ever known, it was partially due to this incessant and rampant behavior that I was almost always at a loss. I had once again been bullied out of something I desperately needed by a white girl who felt justified and untouchable— only this time, it was more serious. I wasn't just in trouble at school, or some kind of job— she had manipulated things in such a way that this time I was out of a place to live— under the guise that she was a good person, giving gifts and acting strangely friendly, she had planted seeds and initiated acts of warfare, and in the recovery process of having left abusive situation after abusive situation, it was hard to wrap my mind around the fact that this was yet again another one. I kept telling myself it was only in my mind, despite the evidence of otherwise. That she was not evil but simply ignorant, or misguided, and aloof because of her privelege— but now, understanding that once again I may have no where in my own country to go, I understood the earth shattering truths of equality and integration, and gentrification. Not only did they want to bring in wealthy whites and Asians, they wanted (and needed) to push poor blacks and Latinos out, because of the value the white people placed in themselves. Too many of us made them feel weak and vulnarable, and insecure— and I was certaint that reading over my writing the girl had felt she'd met her match— that even my presence at all was a threat, not just because I was black, but because I was smart. So the way she contributed to the forces of white power was the simple way the race war continues to be fought— by working on the mind, forcing it to weaken and crumble by slamming things during times of vulnerability— baths, showers, toilet use— and that way, for months at a time, I no longer felt safe at all, and of course, it was ungrateful to complain— I should just be happy to have a place to sleep that was my own. But to have peace and quiet and sanity, recovery and health? How could I ever deserve that? In fact, I didn't deserve it, and they made it clear— and there surely was a dorrelation between the noise outside and the noise inside: somebody was trying to make a very violent point— and they were using me to do it. They had effectively dismantled my ability to focus, and the. Intercepted my strength— I had a Peloton for cardio, and a small treadmill— but lifting and strength training was out of the question; this was trademarked by the sudden appearance of a man paid to follow me into the small gym in the buildings— a man who looked enough like the man who had beat me in front of my two children, stolen my son and intercepted my every attempt to care for him, or even be in his life. This man, grunting and mumbling rap lyrics, would throw the 30 pound dumbbells from a over his head, sending them crashing to the floor across the room— absolutely unnecessary and unacceptable behavior, which I had at one point even captured on video, however, my visits to the gym ended when I decided to leave my phone in the apartment and I had been followed there by the same man, who threw the weights from above his head and acted like an animal. I simply picked up the weights and placed them on the treadmill as he lifted at the tension machine, grunting and mumbling rap lyrics, then silently walked away. I never returned to the gym again— this had gone too far, but overall since it was an obvious plan to diminish my ability to fight what was happening with the noise by staying strong, this strategy had worked. Now all I could realistically do was cardio, which took too much time and effort in order to reach what I had been doing in the gym beforehand— now that my psyche was being dismantled, it remained important to kee me awake during the day with the noise, so that I could not attend the gym at night, because I didn't have the energy to function anymore. I was a trapped animal, and these sick mind games were nothing short of warfare. It had to be a government institution or privatized force, because their resources were immense— nothing like this could happen without a militarized approach; weaponizing people as effective weapons and dismantling my livelihood by any way possible was indeed an act of torture and psycholical warfare. I was isolated, without family or friends, and disconnected from any stable income— job after job application not simply denied, but ignored, as if my efforts were going into a black hole of nothingness. Then, it did seem as if all of my technological communications had been altered-1 my phone calls monitored and my internet history avalible to someone unseen, but not unfelt. It just so happened that the neighbor might be one of them, and that because I had no way of continuing my training regimen without being followed by strange men, who would then act in abrasive ways to further psychologically destruct what should have been strength training and recovery, I was weakened, not by one thing, but an entire organization of many. Just then, writing and luckily somehow also recording, standing between the door and the bathroom after raising out of the bathtub, the merciless noise continued— a loud crash against the wall as I stood naked in the walkway of the apartment with a towel draped over my shoulders sent my heart shrieking and pounding into the cavern of my stomach— not just my entire heart racing but my gut wrenching with the beating of my heart…. “File that.” I was standing over the doorway in the bathroom, still gripping the pslams of the first testament in my hand, but I didn't understand anymore what things to ignore and what to not. I assumed that it was just more mind games and frequency manipulation and that God itself had nearly been lost. In my time in the apartment, I became more connected from disconnected from the source in the way I knew it and had learned how to internalize God. I could no longer pray freely out loud— someone was listening to me in my apartment, and when I did speak, the noise was arranged to rile up until it shattered me, and I was quiet again. —Tales of a Superstar DJ. When was he ever a long hair, but here? I went to bed two hours ago, But perhaps when I sleep I dream of you Suppose that waking life's a nightmare And when I look in the mirror I see your eyes there I need you to go to my apartment; I'll be dead by the time you get there; Don't worry, you won't find my body I went over the edge elsewhere I left you a note and some postcards; The letters I put in the post beforehand I need you to publish my books, my friend Or no one will ever know of them I left you a pen name Who are you Where you from What'd you do for ten years I dont know Congrats from your accolades From the academy Down the hatch The overwhelming message of the thing was, that because this girl was white, she could do whatever she wanted to me. To act however she pleased, or be as horrible as the wanted without recourse ir reprimand, and I could only assume that because I was now being pressured and rushed to hurriedly do things that I couldn't have done under the stress of the noise and harassment, that it was someone acting in favor of the regime of white dominance and structured power— that equality was not only ineffective, but impossible, because it was not what they wanted. The illusion of equality was better because in that way, they maintained control over our minds and our bodies in the same way slavery had structured—and though they could no longer truly own us in one way, they still could in another, and this is how they maintained their humiliation and disrespect, the dehumanization of war— by creating the illusion that it was peace. Copyright The Collective Complex © [The Festival Project, Inc. ™] All Rights Reserved -Ū.

…We have a weird connection, don't we? The scene was from The Television People, but the image was the clear as day vision of Patrick in a sunlit warehouse somewhere in Manhattan with one of his many lovers—somewhere in my mind, amidst the distractions, I was still trying to formulate the leeways between things I'd already written, and for whatever reason assembling an actual plot for its pilot season. STEPHEN COLBERT enters and unbuttons his suit jacket— in trademark Colbert. This is obviously not something he's doing subconsciously— because just as some bystander on the train engaged the same action, I realized suddenly that I must retrieve some sort of information. STEPHEN COLBERT Drew Barrymore! DREW BARRYMORE seems annoyed, but obliges somewhat politely. DREW BARRYMORE …Colbert. STEPHEN COLBERT I— have an offer you're not gonna refuse. DREW BARRYMORE takes a sip of her fruity drink. DREW BARRYMORE Jesus Christ. The Unforeseen Overture: Navigating Adversity in the Pursuit of Art and Community The rhythm of the electronic music scene pulsed through my veins, a beat I deeply understood and longed to amplify. My vision for the July 11, 2025 event was more than just a party; it was an ambitious undertaking for The Festival Project, Inc.™, an immersive arts installation designed to embody peace, love, unity, and respect within the dance community. This wasn't merely a gig; it was a profound manifestation of my artistic ethos, a crucial step for my non-profit, The Collective Complex ©, and a testament to my dedication to community building through performance. Yet, the week leading up to that date became an unforeseen overture, a discordant prelude that challenged my core values and tested my resolve. The sudden, unprofessional cancellation of the event, shrouded in a symphony of miscommunication and control, forced a deeper understanding of both the industry and my own resilience. What initially felt like a devastating blow transformed into a profound learning experience, a disruption that, though painful, ultimately strengthened my commitment to my artistic path. The first jarring note in this unforeseen overture came with the concealed venue closure. I learned, not through direct communication, but by having to track down the event coordinator on social media, that the very foundation of our event—the venue itself—was in jeopardy. This wasn't just a logistical oversight; it was a profound failure of transparency, a direct contradiction to the collaborative spirit I champion. The shock of having to chase down such critical information was immediate, leaving me feeling disrespected and marginalized, a chilling echo of the systemic gatekeeping I've seen affect so many aspiring artists. What followed was an almost immediate escalation. Hours after the event was belatedly posted as "confirmed" on Resident Advisor, with an incorrect title, my team discovered the ticket link was already canceled. This wasn't a glitch; it felt like an act of deliberate professional sabotage. My team had dedicated countless hours, reaching out to networks and brand sponsors, only to find their efforts rendered moot by a link that was dead on arrival. The emotional toll was immense, a sharp, uncommunicated blow to the meticulous hard work we had poured into this project. It was as if the stage lights had been plunged into darkness without warning, leaving us, the performers, to navigate a sudden, unexpected void. The formal cancellation notification, when it finally arrived on Sunday, felt absurd. The event had already been effectively canceled on RA since Friday night, and I had already made the difficult decision to independently pull the plug due to the egregious lack of communication. Receiving the email, first to a personal address because my professional emails had been blocked—a detail that still baffles me—and then a minute later to my professional one, underscored the profound unresponsiveness and operational deficiencies of the other party. It was a clear demonstration that their actions were consistently behind the curve, creating mounting pressure and uncertainty for everyone involved. The feeling of constantly being one step behind, not due to our own failings but theirs, was demoralizing and deeply frustrating. Amidst this chaotic unraveling, the coordinator leveled a baffling accusation: that my "tone and communication have come across as consistently rude and disrespectful." This was a pivotal moment, a direct challenge to my professional integrity. To be accused of disrespect when I was simply trying to coordinate crucial event logistics with a non-responsive party felt like an insidious form of gaslighting. It wasn't just a disagreement; it was an attempt to undermine my perception of reality, to deflect from their own severe shortcomings by shifting blame onto my proactive efforts. This experience, however, served as a powerful lesson. It cemented my understanding of the critical importance of meticulous documentation in any professional endeavor. My screenshots of unresponded communications and the precise timeline of events weren't collected out of spite, but out of necessity—a commitment to truth and accountability in business. This meticulous record-keeping became my shield against their baseless accusations, allowing me to maintain an unimpeachable professional record. It also highlighted a broader, unfortunate reality within creative industries: how persistence, especially from marginalized individuals, can be unfairly labeled as "disrespectful" simply to dismiss legitimate concerns or deny opportunities. This incident, for me, mirrored the systemic biases and devaluation of Black women I've encountered, reinforcing the need to stand firm against such tactics. My attempts to gain a response, including offering to "meet in person and to buy you coffee to get to know each other outside of a digital space," weren't aggressive; they were a genuine effort towards collaboration, a desire to create a "strong foundation for future maneuvering within the scene and community." This demonstrated my unwavering commitment to the values of "peace, love, unity, and respect" even in the face of escalating adversity. Their interpretation of my persistence as "disrespectful" was a fragile perception based on surface assumptions, a stark contrast to my deep sense of responsibility to my team, brand sponsors, and the community relying on timely information. The cancellation of my event was a painful experience, but it became a crucible for profound personal and professional growth. Perhaps the most significant lesson was the catastrophic impact of a lack of clear, timely communication in event production. I learned that robust communication protocols aren't just good practice; they are fundamental to artistic collaboration and business integrity. Moving forward, this experience will inform every partnership I forge, prioritizing transparency and open dialogue. This adversity also forced me into an act of incredible resilience and adaptability. Despite the immediate disappointment and disruption, I pushed through, knowing that my vision was bigger than any single setback. This inherent drive to pivot and re-strategize, to find new ways forward when traditional avenues are blocked, directly echoes the "accidental entrepreneurship" that defines my journey as Blū Tha Gürū in my Series Bible. It taught me that while external circumstances can throw us off course, our inner compass, guided by purpose, can always find a new direction. Furthermore, this situation underscored the vital need to protect my vision and my team's livelihood. Many people were relying on the timely dissemination of information, and the coordinator's disregard for this business was a sign of disrespect not just toward my time, but toward my entire team's dedication and economic well-being. This experience has made me a more discerning and empathetic leader, committed to ensuring that all future dealings are underpinned by transparency, mutual respect, and clear agreements that safeguard everyone involved. Perhaps most profoundly, the attempt to gaslight me, instead of diminishing my resolve, actually solidified my power. It taught me the importance of trusting my own perceptions, standing firm against unjust accusations, and recognizing attempts to undermine my professionalism. It reinforced my inherent worth and power, independent of external validation. This growth directly mirrors Blū's journey of overcoming "self-perception of unworthiness" and rising above "saboteurs, gatekeepers, and rivals" in the broader narrative of "Tales of a Superstar DJ." Finally, this event served as a stark reminder of the intricate intersection of art and business. Even in the vibrant, expressive world of performing arts, business acumen, clear contracts, and meticulous contingency planning are paramount. I gained invaluable, albeit painful, lessons in the practicalities of event management, risk assessment, and navigating challenging professional relationships within an often monopolized and gatekept industry. The unforeseen cancellation of my July 11th event was a challenging overture, but it did not, and will not, silence my music. Instead, it has been a crucible that forged greater resilience, sharpened my professional instincts, and deepened my understanding of effective leadership and uncompromising integrity in the arts. My dedication to creating high-production value events and arts installations with peace, love, unity, and respect at the forefront remains not only unwavering but amplified by this experience. At this performing arts college, I seek to refine these lessons, to merge my intuitive artistic vision with rigorous professional training. I am not merely seeking admission; I am seeking the tools and collaborative environment to forge a path that counters the very systemic flaws I encountered. I am now better equipped to lead, understanding both the creative and logistical complexities of bringing ambitious artistic projects to life. This experience has solidified my purpose: to build authentic, impactful platforms that uplift artists and foster genuine community. I am not just a survivor of this event; I am a stronger, more discerning leader, ready to embark on the next act of my journey, transforming adversity into a powerful catalyst for positive change in the world of performing arts. “Dont do that.” Copyright The Collective Complex © [The Festival Project, Inc. ™] All Rights Reserved -Ū.

…We have a weird connection, don't we? The scene was from The Television People, but the image was the clear as day vision of Patrick in a sunlit warehouse somewhere in Manhattan with one of his many lovers—somewhere in my mind, amidst the distractions, I was still trying to formulate the leeways between things I'd already written, and for whatever reason assembling an actual plot for its pilot season. STEPHEN COLBERT enters and unbuttons his suit jacket— in trademark Colbert. This is obviously not something he's doing subconsciously— because just as some bystander on the train engaged the same action, I realized suddenly that I must retrieve some sort of information. STEPHEN COLBERT Drew Barrymore! DREW BARRYMORE seems annoyed, but obliges somewhat politely. DREW BARRYMORE …Colbert. STEPHEN COLBERT I— have an offer you're not gonna refuse. DREW BARRYMORE takes a sip of her fruity drink. DREW BARRYMORE Jesus Christ. The Unforeseen Overture: Navigating Adversity in the Pursuit of Art and Community The rhythm of the electronic music scene pulsed through my veins, a beat I deeply understood and longed to amplify. My vision for the July 11, 2025 event was more than just a party; it was an ambitious undertaking for The Festival Project, Inc.™, an immersive arts installation designed to embody peace, love, unity, and respect within the dance community. This wasn't merely a gig; it was a profound manifestation of my artistic ethos, a crucial step for my non-profit, The Collective Complex ©, and a testament to my dedication to community building through performance. Yet, the week leading up to that date became an unforeseen overture, a discordant prelude that challenged my core values and tested my resolve. The sudden, unprofessional cancellation of the event, shrouded in a symphony of miscommunication and control, forced a deeper understanding of both the industry and my own resilience. What initially felt like a devastating blow transformed into a profound learning experience, a disruption that, though painful, ultimately strengthened my commitment to my artistic path. The first jarring note in this unforeseen overture came with the concealed venue closure. I learned, not through direct communication, but by having to track down the event coordinator on social media, that the very foundation of our event—the venue itself—was in jeopardy. This wasn't just a logistical oversight; it was a profound failure of transparency, a direct contradiction to the collaborative spirit I champion. The shock of having to chase down such critical information was immediate, leaving me feeling disrespected and marginalized, a chilling echo of the systemic gatekeeping I've seen affect so many aspiring artists. What followed was an almost immediate escalation. Hours after the event was belatedly posted as "confirmed" on Resident Advisor, with an incorrect title, my team discovered the ticket link was already canceled. This wasn't a glitch; it felt like an act of deliberate professional sabotage. My team had dedicated countless hours, reaching out to networks and brand sponsors, only to find their efforts rendered moot by a link that was dead on arrival. The emotional toll was immense, a sharp, uncommunicated blow to the meticulous hard work we had poured into this project. It was as if the stage lights had been plunged into darkness without warning, leaving us, the performers, to navigate a sudden, unexpected void. The formal cancellation notification, when it finally arrived on Sunday, felt absurd. The event had already been effectively canceled on RA since Friday night, and I had already made the difficult decision to independently pull the plug due to the egregious lack of communication. Receiving the email, first to a personal address because my professional emails had been blocked—a detail that still baffles me—and then a minute later to my professional one, underscored the profound unresponsiveness and operational deficiencies of the other party. It was a clear demonstration that their actions were consistently behind the curve, creating mounting pressure and uncertainty for everyone involved. The feeling of constantly being one step behind, not due to our own failings but theirs, was demoralizing and deeply frustrating. Amidst this chaotic unraveling, the coordinator leveled a baffling accusation: that my "tone and communication have come across as consistently rude and disrespectful." This was a pivotal moment, a direct challenge to my professional integrity. To be accused of disrespect when I was simply trying to coordinate crucial event logistics with a non-responsive party felt like an insidious form of gaslighting. It wasn't just a disagreement; it was an attempt to undermine my perception of reality, to deflect from their own severe shortcomings by shifting blame onto my proactive efforts. This experience, however, served as a powerful lesson. It cemented my understanding of the critical importance of meticulous documentation in any professional endeavor. My screenshots of unresponded communications and the precise timeline of events weren't collected out of spite, but out of necessity—a commitment to truth and accountability in business. This meticulous record-keeping became my shield against their baseless accusations, allowing me to maintain an unimpeachable professional record. It also highlighted a broader, unfortunate reality within creative industries: how persistence, especially from marginalized individuals, can be unfairly labeled as "disrespectful" simply to dismiss legitimate concerns or deny opportunities. This incident, for me, mirrored the systemic biases and devaluation of Black women I've encountered, reinforcing the need to stand firm against such tactics. My attempts to gain a response, including offering to "meet in person and to buy you coffee to get to know each other outside of a digital space," weren't aggressive; they were a genuine effort towards collaboration, a desire to create a "strong foundation for future maneuvering within the scene and community." This demonstrated my unwavering commitment to the values of "peace, love, unity, and respect" even in the face of escalating adversity. Their interpretation of my persistence as "disrespectful" was a fragile perception based on surface assumptions, a stark contrast to my deep sense of responsibility to my team, brand sponsors, and the community relying on timely information. The cancellation of my event was a painful experience, but it became a crucible for profound personal and professional growth. Perhaps the most significant lesson was the catastrophic impact of a lack of clear, timely communication in event production. I learned that robust communication protocols aren't just good practice; they are fundamental to artistic collaboration and business integrity. Moving forward, this experience will inform every partnership I forge, prioritizing transparency and open dialogue. This adversity also forced me into an act of incredible resilience and adaptability. Despite the immediate disappointment and disruption, I pushed through, knowing that my vision was bigger than any single setback. This inherent drive to pivot and re-strategize, to find new ways forward when traditional avenues are blocked, directly echoes the "accidental entrepreneurship" that defines my journey as Blū Tha Gürū in my Series Bible. It taught me that while external circumstances can throw us off course, our inner compass, guided by purpose, can always find a new direction. Furthermore, this situation underscored the vital need to protect my vision and my team's livelihood. Many people were relying on the timely dissemination of information, and the coordinator's disregard for this business was a sign of disrespect not just toward my time, but toward my entire team's dedication and economic well-being. This experience has made me a more discerning and empathetic leader, committed to ensuring that all future dealings are underpinned by transparency, mutual respect, and clear agreements that safeguard everyone involved. Perhaps most profoundly, the attempt to gaslight me, instead of diminishing my resolve, actually solidified my power. It taught me the importance of trusting my own perceptions, standing firm against unjust accusations, and recognizing attempts to undermine my professionalism. It reinforced my inherent worth and power, independent of external validation. This growth directly mirrors Blū's journey of overcoming "self-perception of unworthiness" and rising above "saboteurs, gatekeepers, and rivals" in the broader narrative of "Tales of a Superstar DJ." Finally, this event served as a stark reminder of the intricate intersection of art and business. Even in the vibrant, expressive world of performing arts, business acumen, clear contracts, and meticulous contingency planning are paramount. I gained invaluable, albeit painful, lessons in the practicalities of event management, risk assessment, and navigating challenging professional relationships within an often monopolized and gatekept industry. The unforeseen cancellation of my July 11th event was a challenging overture, but it did not, and will not, silence my music. Instead, it has been a crucible that forged greater resilience, sharpened my professional instincts, and deepened my understanding of effective leadership and uncompromising integrity in the arts. My dedication to creating high-production value events and arts installations with peace, love, unity, and respect at the forefront remains not only unwavering but amplified by this experience. At this performing arts college, I seek to refine these lessons, to merge my intuitive artistic vision with rigorous professional training. I am not merely seeking admission; I am seeking the tools and collaborative environment to forge a path that counters the very systemic flaws I encountered. I am now better equipped to lead, understanding both the creative and logistical complexities of bringing ambitious artistic projects to life. This experience has solidified my purpose: to build authentic, impactful platforms that uplift artists and foster genuine community. I am not just a survivor of this event; I am a stronger, more discerning leader, ready to embark on the next act of my journey, transforming adversity into a powerful catalyst for positive change in the world of performing arts. “Dont do that.” Copyright The Collective Complex © [The Festival Project, Inc. ™] All Rights Reserved -Ū.

…We have a weird connection, don't we? The scene was from The Television People, but the image was the clear as day vision of Patrick in a sunlit warehouse somewhere in Manhattan with one of his many lovers—somewhere in my mind, amidst the distractions, I was still trying to formulate the leeways between things I'd already written, and for whatever reason assembling an actual plot for its pilot season. STEPHEN COLBERT enters and unbuttons his suit jacket— in trademark Colbert. This is obviously not something he's doing subconsciously— because just as some bystander on the train engaged the same action, I realized suddenly that I must retrieve some sort of information. STEPHEN COLBERT Drew Barrymore! DREW BARRYMORE seems annoyed, but obliges somewhat politely. DREW BARRYMORE …Colbert. STEPHEN COLBERT I— have an offer you're not gonna refuse. DREW BARRYMORE takes a sip of her fruity drink. DREW BARRYMORE Jesus Christ. The Unforeseen Overture: Navigating Adversity in the Pursuit of Art and Community The rhythm of the electronic music scene pulsed through my veins, a beat I deeply understood and longed to amplify. My vision for the July 11, 2025 event was more than just a party; it was an ambitious undertaking for The Festival Project, Inc.™, an immersive arts installation designed to embody peace, love, unity, and respect within the dance community. This wasn't merely a gig; it was a profound manifestation of my artistic ethos, a crucial step for my non-profit, The Collective Complex ©, and a testament to my dedication to community building through performance. Yet, the week leading up to that date became an unforeseen overture, a discordant prelude that challenged my core values and tested my resolve. The sudden, unprofessional cancellation of the event, shrouded in a symphony of miscommunication and control, forced a deeper understanding of both the industry and my own resilience. What initially felt like a devastating blow transformed into a profound learning experience, a disruption that, though painful, ultimately strengthened my commitment to my artistic path. The first jarring note in this unforeseen overture came with the concealed venue closure. I learned, not through direct communication, but by having to track down the event coordinator on social media, that the very foundation of our event—the venue itself—was in jeopardy. This wasn't just a logistical oversight; it was a profound failure of transparency, a direct contradiction to the collaborative spirit I champion. The shock of having to chase down such critical information was immediate, leaving me feeling disrespected and marginalized, a chilling echo of the systemic gatekeeping I've seen affect so many aspiring artists. What followed was an almost immediate escalation. Hours after the event was belatedly posted as "confirmed" on Resident Advisor, with an incorrect title, my team discovered the ticket link was already canceled. This wasn't a glitch; it felt like an act of deliberate professional sabotage. My team had dedicated countless hours, reaching out to networks and brand sponsors, only to find their efforts rendered moot by a link that was dead on arrival. The emotional toll was immense, a sharp, uncommunicated blow to the meticulous hard work we had poured into this project. It was as if the stage lights had been plunged into darkness without warning, leaving us, the performers, to navigate a sudden, unexpected void. The formal cancellation notification, when it finally arrived on Sunday, felt absurd. The event had already been effectively canceled on RA since Friday night, and I had already made the difficult decision to independently pull the plug due to the egregious lack of communication. Receiving the email, first to a personal address because my professional emails had been blocked—a detail that still baffles me—and then a minute later to my professional one, underscored the profound unresponsiveness and operational deficiencies of the other party. It was a clear demonstration that their actions were consistently behind the curve, creating mounting pressure and uncertainty for everyone involved. The feeling of constantly being one step behind, not due to our own failings but theirs, was demoralizing and deeply frustrating. Amidst this chaotic unraveling, the coordinator leveled a baffling accusation: that my "tone and communication have come across as consistently rude and disrespectful." This was a pivotal moment, a direct challenge to my professional integrity. To be accused of disrespect when I was simply trying to coordinate crucial event logistics with a non-responsive party felt like an insidious form of gaslighting. It wasn't just a disagreement; it was an attempt to undermine my perception of reality, to deflect from their own severe shortcomings by shifting blame onto my proactive efforts. This experience, however, served as a powerful lesson. It cemented my understanding of the critical importance of meticulous documentation in any professional endeavor. My screenshots of unresponded communications and the precise timeline of events weren't collected out of spite, but out of necessity—a commitment to truth and accountability in business. This meticulous record-keeping became my shield against their baseless accusations, allowing me to maintain an unimpeachable professional record. It also highlighted a broader, unfortunate reality within creative industries: how persistence, especially from marginalized individuals, can be unfairly labeled as "disrespectful" simply to dismiss legitimate concerns or deny opportunities. This incident, for me, mirrored the systemic biases and devaluation of Black women I've encountered, reinforcing the need to stand firm against such tactics. My attempts to gain a response, including offering to "meet in person and to buy you coffee to get to know each other outside of a digital space," weren't aggressive; they were a genuine effort towards collaboration, a desire to create a "strong foundation for future maneuvering within the scene and community." This demonstrated my unwavering commitment to the values of "peace, love, unity, and respect" even in the face of escalating adversity. Their interpretation of my persistence as "disrespectful" was a fragile perception based on surface assumptions, a stark contrast to my deep sense of responsibility to my team, brand sponsors, and the community relying on timely information. The cancellation of my event was a painful experience, but it became a crucible for profound personal and professional growth. Perhaps the most significant lesson was the catastrophic impact of a lack of clear, timely communication in event production. I learned that robust communication protocols aren't just good practice; they are fundamental to artistic collaboration and business integrity. Moving forward, this experience will inform every partnership I forge, prioritizing transparency and open dialogue. This adversity also forced me into an act of incredible resilience and adaptability. Despite the immediate disappointment and disruption, I pushed through, knowing that my vision was bigger than any single setback. This inherent drive to pivot and re-strategize, to find new ways forward when traditional avenues are blocked, directly echoes the "accidental entrepreneurship" that defines my journey as Blū Tha Gürū in my Series Bible. It taught me that while external circumstances can throw us off course, our inner compass, guided by purpose, can always find a new direction. Furthermore, this situation underscored the vital need to protect my vision and my team's livelihood. Many people were relying on the timely dissemination of information, and the coordinator's disregard for this business was a sign of disrespect not just toward my time, but toward my entire team's dedication and economic well-being. This experience has made me a more discerning and empathetic leader, committed to ensuring that all future dealings are underpinned by transparency, mutual respect, and clear agreements that safeguard everyone involved. Perhaps most profoundly, the attempt to gaslight me, instead of diminishing my resolve, actually solidified my power. It taught me the importance of trusting my own perceptions, standing firm against unjust accusations, and recognizing attempts to undermine my professionalism. It reinforced my inherent worth and power, independent of external validation. This growth directly mirrors Blū's journey of overcoming "self-perception of unworthiness" and rising above "saboteurs, gatekeepers, and rivals" in the broader narrative of "Tales of a Superstar DJ." Finally, this event served as a stark reminder of the intricate intersection of art and business. Even in the vibrant, expressive world of performing arts, business acumen, clear contracts, and meticulous contingency planning are paramount. I gained invaluable, albeit painful, lessons in the practicalities of event management, risk assessment, and navigating challenging professional relationships within an often monopolized and gatekept industry. The unforeseen cancellation of my July 11th event was a challenging overture, but it did not, and will not, silence my music. Instead, it has been a crucible that forged greater resilience, sharpened my professional instincts, and deepened my understanding of effective leadership and uncompromising integrity in the arts. My dedication to creating high-production value events and arts installations with peace, love, unity, and respect at the forefront remains not only unwavering but amplified by this experience. At this performing arts college, I seek to refine these lessons, to merge my intuitive artistic vision with rigorous professional training. I am not merely seeking admission; I am seeking the tools and collaborative environment to forge a path that counters the very systemic flaws I encountered. I am now better equipped to lead, understanding both the creative and logistical complexities of bringing ambitious artistic projects to life. This experience has solidified my purpose: to build authentic, impactful platforms that uplift artists and foster genuine community. I am not just a survivor of this event; I am a stronger, more discerning leader, ready to embark on the next act of my journey, transforming adversity into a powerful catalyst for positive change in the world of performing arts. “Dont do that.” Copyright The Collective Complex © [The Festival Project, Inc. ™] All Rights Reserved -Ū.

Television Series Concept: "Tales of a Superstar DJ" Premise: "Tales of a Superstar DJ" exists within the sprawling multiverse of "Enter The Multiverse," revealing the deeply personal, often painful, and ultimately triumphant journey of Blū Tha Gürū. Born of ascended dimensions and gifted with unparalleled creative genius, Blū faces the paradox of her destiny: to become the world's greatest DJ and healer through sound, while navigating profound earthly challenges like body dysmorphia, the scars of loss, racism, homelessness, and the crushing weight of her hidden secrets and battles with mental health. Armed with a cheap video camera and an unwavering cosmic mandate, Blū will record her raw, unvarnished ascent, blending mind-bending sets with intimate glimpses into her struggle for love and self-acceptance, all while the universe conspires to push her towards the decks. I've got a secret, a dirty little secret. Oh, it's you. I called first, if that makes a difference. It doesn't. The man, a tall and dapper elegant fellow is quiet and refined— PEONY (pronounced “penny”) wel known amongst the folks at the library has climbed each rank with a rapid whimsy, for which he has earned his respect and the seat he claims here, in this palace. His jacket is of a fine side and velvet, trimmed with leather to match his strange loafers— trimmed with a golden and silver toe, to match the cufflinks and the belt, and even the tie, and appearing to be covered in gems and crystals. Sir. Thank you. Another man approaches. The dodo rang! Of course. Sit, will you! Will I? You might, or not, but i haven't the time! Spare me the riddles — but give me the rhyme. The rhyme costs but one, pretty penny. Only a shilling I've to spare. Then one shilling will do; One prune, and one pear. {Enter The Multiverse} [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019-2025 ™ All Rights Reserved. -Ū.

Pools of blood, And pools of dust, And fools, and fools, and fools Pools of love, And pools of list And tools and tools, and tools Pools of us, And Pools of hours And palms of pools D'hors Pools of plants, And pools of listen Pools and Pools and Pools Now, for us, what's at stake has come upon us For whether which now or ever ties have made for us to burn; Ne'er mistake there lust for listens and of ponders, Waterfalls of love and feathers, wanders Ties to honor stars and fore of fathers Almost lost it, there, I– Almost gathered, therefore. [ ] So to us who part ties, Of tied knots and of stomach's wrench To nourish shadows as remains her honor, I, depart my once, I, as flocking doves, The twist'of fated never Bare I fear or fonder Where, where, for again (bare tied as to none) and again wakes as has but not in time, to grove– The box I paved and yet, Set aside not as slabs of stone Or ash and fire But there i wake In cedar pine and oak The turn of slumber as the glow of what I once did not know, Now has shined against My eyes as water Luminescence Oh Goddamnit. Peaking pride, the oath Again i wait and ne'er did I come, but forth I woke, and also thought Not one but worlds of color, And there i know, to heart the seas I parted Not shallow or in shallows waking, red as scarlet blood but mauve, and then, the coping stays of which I gathered here has Agape and aching, wet with pride and courage Forefront others As thought to know, I, And I become, as known, now not and. “All White World” Our ENSEMBLE awakens slowly in the void of light; an all white space seemingly endless and drenched in blinding light; slowly awakening as if upon a cloud, and yet, washed in the drenched brightness of an all white world–familiar and together, but also new; The uniformity of all white attire and the simplicity of symmetry–all alike but of many and also one. I promise there's pancakes; I promise there's porridge I primise there's light at the end of the tunnel (the end of the night and beginning of brunch) And yes, I promise a run And a run for the office (not by far) And not unpardoned I promise to pray And I promise to wait And i promise to ache In the acres I've laid Made of all green pastures And days and days Without saying my name Pass us over Now…. Hiatus, Hiatus, Hiatus! My maples for all of us, cornbread And cream of the coconut (cream of the coconut) Screams from the underworld (Calling! They're calling) And trees of the very best kind; Plush with fruits What a prosperous product A merciless giving A scrupulous foreign (For four eyes, not one on my forehead) –policy! Don't you know, Conan, That all this goes over my– Over my over– Over my Over my head, –like a snowball? Don't you know, though, That nothing goes over his– Over his over– Over his Over his head –no one throws that high! (Not in softball!) ENSEMBLE What an apocalypse! What an apocalypse! What a protocol! What a dunce! What an oddball! Don't you know Nothing goes over Goes over Goes over us Nothing goes over us Nothing goes over Nothing goes over No bombs being dropped And the worst has to come because Nobody's turning this off; It's a turning point Not a mantra! It's a saga And nothing less short than a– Awful apocalypse; Long hiatus and no-low doses of Polymorohypothesis– Whatever that is! Don't you know, Conan, They're all going wrong with us. No, There's no knowing the coat From the hotbox, the hoot from the horus, the laugh from the chopsticks, The room full of products Or coatrooms of corpses No, There's no knowing us But out of nowhere The hour comes running upon us, And so The show must go on The show must go on The show must go…. DIRECTOR CUT! WHAT! That was FABULOUS! I don't disagree with you. However– What is it now? A MAN hangs by nothing but seemingly a very tightly buckled pair of restraints, above his head–the source of the object from which he hangs unknown, he appears to almost float, in fact, in quite the sufferable struggle. Holy fuck, guy. You're still up here? The VOICE comes from above but is yet unseen, it appears as though two very tidy clean white tennis shoes appear to be holding the straps of these restraints in place. CONT'D That's amazing. No false ties, And no hard wars, And no jolly ranchers, Gob stoppers, or nerf ropes. No fruit roll ups, No lunchables, or gushers No hamburger helper And no candy crush Just Drugs And more Drugs And more Drugs and more Morons Donuts, and drag queens, Tim Hortons, And Mormons; Mothballs, and Roaches, And horseflies, And rodents – Now guess which long road you're on (guess which long road you're on) Guess which long road you're aaaaahhhhhh– HALT. Who goes there. What the fuck is THIS. Finally, two acts past intermission, The troll under the bridge has put his cancer in remission The redactions have acted as class-action warfare, McDonalds has sponsored us, But barely. Look: just. No. I'm not endorsing this. Why. Because! It's killing people! Shh! It is! He–'s uh–joking. Actors! Improvising! Hush. Left and right! Speaking of left and right– You know who our sponsors are, right? Of coure! This nonsense! No! The– Shh–! –Owners of this product. Beg your pardon. Do you know who owns this brand and company? No. Well, do your research. Immediately. I highly recommend that. This seems serious. Serious as a heart attack. ACTION! Fuck you! Nuhhhhh–fuck you, you fucking fuck! Look, you lost, alright. Ughhhhhh. It's three to one. Three to one?! Yes. Fuck. Wait a–wait– What. Aren't there five of you guys? What? Huh-huh? No. Yes. There are. No. There's. Why. Five–of us–four of us You're lying. One, two, three *hiccups* four– Strike force “five”? I'm two guys! FUCK. We're missing one. Fuck. They figured us out. I figured out nothing. I'm drunk. I Fluffed. just know the difference–s between Five and One What. Four and Five! okay . Fuck. Well that's right. Well can't we just do it with us. NO! Why not. Because. the singularity has to be in the exact circumstance when this lightning strikes as the first one was. But– That's impossible. It's not–*hiccups*--umpossible. I was 9! “9 and a half!” “The half counts.” But not right now! Because i'm like a 60 year old guy! What! Gross. You're 60?! I think so! Then how old am I!?! I don't know! How old were you before!? I'm your brother! You don't know how old I am!? You're not my brother now, so maybe–I don't know–you never were! *gasps* take that bacK! [The boys fight amongst eachother] Fuck me, man. No thank you. What in the fuck did I write. I don't know but. CUT TO Ooh. Dice. DON'T TOUCH *poof* ENTER THE MULTIVERSE: L E G E N D S “The Magic Dice” (A Triad) NICE. FUCK yOu DUDE. nO fuck U U dElEETED My WRLD. THen is must not have been that great. *exaggerateD gasp* *even more exaggerated gasp* *Fluffs* *fluffs harder* *explodes* [The Festival Project ™ ] MEANWHILE The Aliens Are On A Pirate Ship, There's Still No Sign of [Redacted] and that's what this beat is called. -U. iS this a montage? Idk it just seems like a ship sinking in very slow motion. [A pirate ship full of aliens is sinking in very slow motion in a thunderous maelstrom.] (in IMAX 3D) Wow. I like that. This is fascinating. JIMMY KIMMEL is pacing relentlessly; he is driving the other hosts up a wall. KIMMEL I'm hungry, I want pants. I'm hungry– I want pants– Jimmy... KIMMEL I'm hungry– Jimmy! KIMMEL I want pants! JIMMY! KIMMEL WHAT! I'M HUNGRY AND I WANT PANTS! Oh, is that when— CRAIG FURGUSON has had enough. CRAIG You want bloody pants! KIMMEL YES! I WANT PANTS! CRAIG You know what! Fine! I'll make you some fucking pants if you just–shut UP! KIMMEL AND I'M HUNGRY. CRAIG FIRST THINGS FIRST! CRAIG FURGUSON assembles some very eclectic pants from the drapery inside the mansion; this of course reveals the windows to be boarded up in a highly distinct bunker-like maximum security prison-ish fashion, but THE HOSTS at the very least now have makeshift pants; which are startlingly fashionable: read: bohemian chic. Why do mine have beads still attached? He pulls the decorative ripchord and his fly opens promptly. Oh. CRAIG FURGUSON For emergencies. He continues pulling it in sequence with the matching lamp; he alternates turning the lights on and off and opening and shutting his pants flap in admiration. CRAIG FURGUSON CONT'D In case you really have to go. (Facinated) Ooh! CRAIG FURGUSON is satisfied with his work. CRAIG FURGUSON CONT'D I guess you could say, “The curtains match the drapes” CONAN O'BRIEN (beat) …not mine. {Enter The Multiverse} Fearsome, fearsome friends– Fearsome fearsome few Fearsome fearsome tears Listen whispers Fearsome twin Silly hollows All the lies All that waits is Hollywood and chosen five at ends of times All that waits are kings and wisdom All that knows are far, and farther All that needs is nothing, lessons All that fears is our kind Waiting. Shallow. Whispers, Gaining, Hornets nests and looming , gifted Shadow watchers Our time Farrows, Listen, Glistening as sparrows, Gifted– Kill God, There remains a far price There remains a far cry A call to wolves A false time The fabric is losts on Ghosts and Carry trains, Wishes and Tilted, Whisperers Before our Galaxy of Hard times and Wishes, Wishes, Wilting, Flowers, Waiting, Waiting And Waiting And Waiting And wanting but watching The water Gallons Fly up The wanted Waiting The gallows Have haunted us Far cries, Far cry Fear twins, have shattered To notice us Chatterbox Listens and Life turns and Waiting and Galaxies Gallantly Waiting The gallows Have haunted us Waiting And Waiting And Waiting and Water. We're watching you. An ACHINGLY TALL red-headed fellow finds himself in a FIGHT TO THE DEATH, being cast over eons and decades, and cascaded in and our of portals throughout the ever-infinite dimensional portals of unknown realms as his grasp on life itself and reality begins to fade as he crosses in and out of parallels, one galaxy to the next and one lifetime to another, gripping death and darkness in one hand and light and living in the other. In this bloody brawl, scrawling across an expanse of unknown and unknowable times and realms, this mystic remains still yet as infinite and omniscient in himself as the Gods he looks to for mercy, as the journey has been known to become of these very same deities in its context and process. A folding timeline of blood and sacrifice melds itself into the rope of the materiel worlds; not one fabric of time but many twisted and woven fibers into one rope from which he climbs into the ranks of the upperworld–or heaven, then also slipping seemingly sometimes into the depths of the underworld, a Hell known to all man as this, existence not as one but many consumed in the shadow processes of wickedness and torture, war amongst one another, and the well known humanities of pride, faith, justice and wealth. …this is supposed to be Conan? Uhh… “Achingly tall red-head?” yeah I guess. –O'Brien? [beat] He seems capable. Don't pity me, For not I weep of our pride on doorsteps not allowed, But for the grace and hope of fortune in another world i've known But lest forgotten; Do not feign me for my ignorance in desire, For I am not of man, or woman, or grain, or stone But of the world itself and all ire. (Don't doubt me.) To be cruel not those who pass judgement That weighs in this way or that is utmost critical, In this the end of times and now the end of my desires, And yet the way that I have known, And the offer I have rung Is not here, but elsewhere. And yea, I walk alone. Amen. What the fuck does this have to do with show hosts. Almost always Irish Catholic Almost Always clothed in robes Almost Always fathers, aren't I? Almost always old, of Rome. Almost always birds of feather Almost always sticks and stones Almost always on the airwaves Almost always silver, gold Slither, Slither, Here i wait And Slither slither, Here I came And whether she will slit her wrists Is neither here Nor either there It's a comfort that I offer you to slaughter; That you'd rather not to love but instead murder– I'd be better off to love, then kill you after, Course, tarantula, or just as well, a spider. It's a comfort that I offer you to kill me; Lay my head upon a sanded wooden platter– That you'd rather me to say I'd kill than love you– So I rather just to love, then murder after. Woah. Good to God, God ought to know. I close my palms together full of laughter, So. Good to God, God ought to know, I sacrified my life for ever after. So far. Good to God, God ought to know, That all he wants, I want My heart is surely shattered. Now what. Good as God, God ought to know, That all I want becomes; The looking glass, The wishing well, The cross to bare The shepherd to the pasture. Amen. Omen. All men. Want none. But one. But– So. [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS W E L C O M E -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved B A C K Tales of A Superstar DJ

Pools of blood, And pools of dust, And fools, and fools, and fools Pools of love, And pools of list And tools and tools, and tools Pools of us, And Pools of hours And palms of pools D'hors Pools of plants, And pools of listen Pools and Pools and Pools Now, for us, what's at stake has come upon us For whether which now or ever ties have made for us to burn; Ne'er mistake there lust for listens and of ponders, Waterfalls of love and feathers, wanders Ties to honor stars and fore of fathers Almost lost it, there, I– Almost gathered, therefore. [ ] So to us who part ties, Of tied knots and of stomach's wrench To nourish shadows as remains her honor, I, depart my once, I, as flocking doves, The twist'of fated never Bare I fear or fonder Where, where, for again (bare tied as to none) and again wakes as has but not in time, to grove– The box I paved and yet, Set aside not as slabs of stone Or ash and fire But there i wake In cedar pine and oak The turn of slumber as the glow of what I once did not know, Now has shined against My eyes as water Luminescence Oh Goddamnit. Peaking pride, the oath Again i wait and ne'er did I come, but forth I woke, and also thought Not one but worlds of color, And there i know, to heart the seas I parted Not shallow or in shallows waking, red as scarlet blood but mauve, and then, the coping stays of which I gathered here has Agape and aching, wet with pride and courage Forefront others As thought to know, I, And I become, as known, now not and. “All White World” Our ENSEMBLE awakens slowly in the void of light; an all white space seemingly endless and drenched in blinding light; slowly awakening as if upon a cloud, and yet, washed in the drenched brightness of an all white world–familiar and together, but also new; The uniformity of all white attire and the simplicity of symmetry–all alike but of many and also one. I promise there's pancakes; I promise there's porridge I primise there's light at the end of the tunnel (the end of the night and beginning of brunch) And yes, I promise a run And a run for the office (not by far) And not unpardoned I promise to pray And I promise to wait And i promise to ache In the acres I've laid Made of all green pastures And days and days Without saying my name Pass us over Now…. Hiatus, Hiatus, Hiatus! My maples for all of us, cornbread And cream of the coconut (cream of the coconut) Screams from the underworld (Calling! They're calling) And trees of the very best kind; Plush with fruits What a prosperous product A merciless giving A scrupulous foreign (For four eyes, not one on my forehead) –policy! Don't you know, Conan, That all this goes over my– Over my over– Over my Over my head, –like a snowball? Don't you know, though, That nothing goes over his– Over his over– Over his Over his head –no one throws that high! (Not in softball!) ENSEMBLE What an apocalypse! What an apocalypse! What a protocol! What a dunce! What an oddball! Don't you know Nothing goes over Goes over Goes over us Nothing goes over us Nothing goes over Nothing goes over No bombs being dropped And the worst has to come because Nobody's turning this off; It's a turning point Not a mantra! It's a saga And nothing less short than a– Awful apocalypse; Long hiatus and no-low doses of Polymorohypothesis– Whatever that is! Don't you know, Conan, They're all going wrong with us. No, There's no knowing the coat From the hotbox, the hoot from the horus, the laugh from the chopsticks, The room full of products Or coatrooms of corpses No, There's no knowing us But out of nowhere The hour comes running upon us, And so The show must go on The show must go on The show must go…. DIRECTOR CUT! WHAT! That was FABULOUS! I don't disagree with you. However– What is it now? A MAN hangs by nothing but seemingly a very tightly buckled pair of restraints, above his head–the source of the object from which he hangs unknown, he appears to almost float, in fact, in quite the sufferable struggle. Holy fuck, guy. You're still up here? The VOICE comes from above but is yet unseen, it appears as though two very tidy clean white tennis shoes appear to be holding the straps of these restraints in place. CONT'D That's amazing. No false ties, And no hard wars, And no jolly ranchers, Gob stoppers, or nerf ropes. No fruit roll ups, No lunchables, or gushers No hamburger helper And no candy crush Just Drugs And more Drugs And more Drugs and more Morons Donuts, and drag queens, Tim Hortons, And Mormons; Mothballs, and Roaches, And horseflies, And rodents – Now guess which long road you're on (guess which long road you're on) Guess which long road you're aaaaahhhhhh– HALT. Who goes there. What the fuck is THIS. Finally, two acts past intermission, The troll under the bridge has put his cancer in remission The redactions have acted as class-action warfare, McDonalds has sponsored us, But barely. Look: just. No. I'm not endorsing this. Why. Because! It's killing people! Shh! It is! He–'s uh–joking. Actors! Improvising! Hush. Left and right! Speaking of left and right– You know who our sponsors are, right? Of coure! This nonsense! No! The– Shh–! –Owners of this product. Beg your pardon. Do you know who owns this brand and company? No. Well, do your research. Immediately. I highly recommend that. This seems serious. Serious as a heart attack. ACTION! Fuck you! Nuhhhhh–fuck you, you fucking fuck! Look, you lost, alright. Ughhhhhh. It's three to one. Three to one?! Yes. Fuck. Wait a–wait– What. Aren't there five of you guys? What? Huh-huh? No. Yes. There are. No. There's. Why. Five–of us–four of us You're lying. One, two, three *hiccups* four– Strike force “five”? I'm two guys! FUCK. We're missing one. Fuck. They figured us out. I figured out nothing. I'm drunk. I Fluffed. just know the difference–s between Five and One What. Four and Five! okay . Fuck. Well that's right. Well can't we just do it with us. NO! Why not. Because. the singularity has to be in the exact circumstance when this lightning strikes as the first one was. But– That's impossible. It's not–*hiccups*--umpossible. I was 9! “9 and a half!” “The half counts.” But not right now! Because i'm like a 60 year old guy! What! Gross. You're 60?! I think so! Then how old am I!?! I don't know! How old were you before!? I'm your brother! You don't know how old I am!? You're not my brother now, so maybe–I don't know–you never were! *gasps* take that bacK! [The boys fight amongst eachother] Fuck me, man. No thank you. What in the fuck did I write. I don't know but. CUT TO Ooh. Dice. DON'T TOUCH *poof* ENTER THE MULTIVERSE: L E G E N D S “The Magic Dice” (A Triad) NICE. FUCK yOu DUDE. nO fuck U U dElEETED My WRLD. THen is must not have been that great. *exaggerateD gasp* *even more exaggerated gasp* *Fluffs* *fluffs harder* *explodes* [The Festival Project ™ ] MEANWHILE The Aliens Are On A Pirate Ship, There's Still No Sign of [Redacted] and that's what this beat is called. -U. iS this a montage? Idk it just seems like a ship sinking in very slow motion. [A pirate ship full of aliens is sinking in very slow motion in a thunderous maelstrom.] (in IMAX 3D) Wow. I like that. This is fascinating. JIMMY KIMMEL is pacing relentlessly; he is driving the other hosts up a wall. KIMMEL I'm hungry, I want pants. I'm hungry– I want pants– Jimmy... KIMMEL I'm hungry– Jimmy! KIMMEL I want pants! JIMMY! KIMMEL WHAT! I'M HUNGRY AND I WANT PANTS! Oh, is that when— CRAIG FURGUSON has had enough. CRAIG You want bloody pants! KIMMEL YES! I WANT PANTS! CRAIG You know what! Fine! I'll make you some fucking pants if you just–shut UP! KIMMEL AND I'M HUNGRY. CRAIG FIRST THINGS FIRST! CRAIG FURGUSON assembles some very eclectic pants from the drapery inside the mansion; this of course reveals the windows to be boarded up in a highly distinct bunker-like maximum security prison-ish fashion, but THE HOSTS at the very least now have makeshift pants; which are startlingly fashionable: read: bohemian chic. Why do mine have beads still attached? He pulls the decorative ripchord and his fly opens promptly. Oh. CRAIG FURGUSON For emergencies. He continues pulling it in sequence with the matching lamp; he alternates turning the lights on and off and opening and shutting his pants flap in admiration. CRAIG FURGUSON CONT'D In case you really have to go. (Facinated) Ooh! CRAIG FURGUSON is satisfied with his work. CRAIG FURGUSON CONT'D I guess you could say, “The curtains match the drapes” CONAN O'BRIEN (beat) …not mine. {Enter The Multiverse} Fearsome, fearsome friends– Fearsome fearsome few Fearsome fearsome tears Listen whispers Fearsome twin Silly hollows All the lies All that waits is Hollywood and chosen five at ends of times All that waits are kings and wisdom All that knows are far, and farther All that needs is nothing, lessons All that fears is our kind Waiting. Shallow. Whispers, Gaining, Hornets nests and looming , gifted Shadow watchers Our time Farrows, Listen, Glistening as sparrows, Gifted– Kill God, There remains a far price There remains a far cry A call to wolves A false time The fabric is losts on Ghosts and Carry trains, Wishes and Tilted, Whisperers Before our Galaxy of Hard times and Wishes, Wishes, Wilting, Flowers, Waiting, Waiting And Waiting And Waiting And wanting but watching The water Gallons Fly up The wanted Waiting The gallows Have haunted us Far cries, Far cry Fear twins, have shattered To notice us Chatterbox Listens and Life turns and Waiting and Galaxies Gallantly Waiting The gallows Have haunted us Waiting And Waiting And Waiting and Water. We're watching you. An ACHINGLY TALL red-headed fellow finds himself in a FIGHT TO THE DEATH, being cast over eons and decades, and cascaded in and our of portals throughout the ever-infinite dimensional portals of unknown realms as his grasp on life itself and reality begins to fade as he crosses in and out of parallels, one galaxy to the next and one lifetime to another, gripping death and darkness in one hand and light and living in the other. In this bloody brawl, scrawling across an expanse of unknown and unknowable times and realms, this mystic remains still yet as infinite and omniscient in himself as the Gods he looks to for mercy, as the journey has been known to become of these very same deities in its context and process. A folding timeline of blood and sacrifice melds itself into the rope of the materiel worlds; not one fabric of time but many twisted and woven fibers into one rope from which he climbs into the ranks of the upperworld–or heaven, then also slipping seemingly sometimes into the depths of the underworld, a Hell known to all man as this, existence not as one but many consumed in the shadow processes of wickedness and torture, war amongst one another, and the well known humanities of pride, faith, justice and wealth. …this is supposed to be Conan? Uhh… “Achingly tall red-head?” yeah I guess. –O'Brien? [beat] He seems capable. Don't pity me, For not I weep of our pride on doorsteps not allowed, But for the grace and hope of fortune in another world i've known But lest forgotten; Do not feign me for my ignorance in desire, For I am not of man, or woman, or grain, or stone But of the world itself and all ire. (Don't doubt me.) To be cruel not those who pass judgement That weighs in this way or that is utmost critical, In this the end of times and now the end of my desires, And yet the way that I have known, And the offer I have rung Is not here, but elsewhere. And yea, I walk alone. Amen. What the fuck does this have to do with show hosts. Almost always Irish Catholic Almost Always clothed in robes Almost Always fathers, aren't I? Almost always old, of Rome. Almost always birds of feather Almost always sticks and stones Almost always on the airwaves Almost always silver, gold Slither, Slither, Here i wait And Slither slither, Here I came And whether she will slit her wrists Is neither here Nor either there It's a comfort that I offer you to slaughter; That you'd rather not to love but instead murder– I'd be better off to love, then kill you after, Course, tarantula, or just as well, a spider. It's a comfort that I offer you to kill me; Lay my head upon a sanded wooden platter– That you'd rather me to say I'd kill than love you– So I rather just to love, then murder after. Woah. Good to God, God ought to know. I close my palms together full of laughter, So. Good to God, God ought to know, I sacrified my life for ever after. So far. Good to God, God ought to know, That all he wants, I want My heart is surely shattered. Now what. Good as God, God ought to know, That all I want becomes; The looking glass, The wishing well, The cross to bare The shepherd to the pasture. Amen. Omen. All men. Want none. But one. But– So. [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS W E L C O M E -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved B A C K Tales of A Superstar DJ

Pools of blood, And pools of dust, And fools, and fools, and fools Pools of love, And pools of list And tools and tools, and tools Pools of us, And Pools of hours And palms of pools D'hors Pools of plants, And pools of listen Pools and Pools and Pools Now, for us, what's at stake has come upon us For whether which now or ever ties have made for us to burn; Ne'er mistake there lust for listens and of ponders, Waterfalls of love and feathers, wanders Ties to honor stars and fore of fathers Almost lost it, there, I– Almost gathered, therefore. [ ] So to us who part ties, Of tied knots and of stomach's wrench To nourish shadows as remains her honor, I, depart my once, I, as flocking doves, The twist'of fated never Bare I fear or fonder Where, where, for again (bare tied as to none) and again wakes as has but not in time, to grove– The box I paved and yet, Set aside not as slabs of stone Or ash and fire But there i wake In cedar pine and oak The turn of slumber as the glow of what I once did not know, Now has shined against My eyes as water Luminescence Oh Goddamnit. Peaking pride, the oath Again i wait and ne'er did I come, but forth I woke, and also thought Not one but worlds of color, And there i know, to heart the seas I parted Not shallow or in shallows waking, red as scarlet blood but mauve, and then, the coping stays of which I gathered here has Agape and aching, wet with pride and courage Forefront others As thought to know, I, And I become, as known, now not and. “All White World” Our ENSEMBLE awakens slowly in the void of light; an all white space seemingly endless and drenched in blinding light; slowly awakening as if upon a cloud, and yet, washed in the drenched brightness of an all white world–familiar and together, but also new; The uniformity of all white attire and the simplicity of symmetry–all alike but of many and also one. I promise there's pancakes; I promise there's porridge I primise there's light at the end of the tunnel (the end of the night and beginning of brunch) And yes, I promise a run And a run for the office (not by far) And not unpardoned I promise to pray And I promise to wait And i promise to ache In the acres I've laid Made of all green pastures And days and days Without saying my name Pass us over Now…. Hiatus, Hiatus, Hiatus! My maples for all of us, cornbread And cream of the coconut (cream of the coconut) Screams from the underworld (Calling! They're calling) And trees of the very best kind; Plush with fruits What a prosperous product A merciless giving A scrupulous foreign (For four eyes, not one on my forehead) –policy! Don't you know, Conan, That all this goes over my– Over my over– Over my Over my head, –like a snowball? Don't you know, though, That nothing goes over his– Over his over– Over his Over his head –no one throws that high! (Not in softball!) ENSEMBLE What an apocalypse! What an apocalypse! What a protocol! What a dunce! What an oddball! Don't you know Nothing goes over Goes over Goes over us Nothing goes over us Nothing goes over Nothing goes over No bombs being dropped And the worst has to come because Nobody's turning this off; It's a turning point Not a mantra! It's a saga And nothing less short than a– Awful apocalypse; Long hiatus and no-low doses of Polymorohypothesis– Whatever that is! Don't you know, Conan, They're all going wrong with us. No, There's no knowing the coat From the hotbox, the hoot from the horus, the laugh from the chopsticks, The room full of products Or coatrooms of corpses No, There's no knowing us But out of nowhere The hour comes running upon us, And so The show must go on The show must go on The show must go…. DIRECTOR CUT! WHAT! That was FABULOUS! I don't disagree with you. However– What is it now? A MAN hangs by nothing but seemingly a very tightly buckled pair of restraints, above his head–the source of the object from which he hangs unknown, he appears to almost float, in fact, in quite the sufferable struggle. Holy fuck, guy. You're still up here? The VOICE comes from above but is yet unseen, it appears as though two very tidy clean white tennis shoes appear to be holding the straps of these restraints in place. CONT'D That's amazing. No false ties, And no hard wars, And no jolly ranchers, Gob stoppers, or nerf ropes. No fruit roll ups, No lunchables, or gushers No hamburger helper And no candy crush Just Drugs And more Drugs And more Drugs and more Morons Donuts, and drag queens, Tim Hortons, And Mormons; Mothballs, and Roaches, And horseflies, And rodents – Now guess which long road you're on (guess which long road you're on) Guess which long road you're aaaaahhhhhh– HALT. Who goes there. What the fuck is THIS. Finally, two acts past intermission, The troll under the bridge has put his cancer in remission The redactions have acted as class-action warfare, McDonalds has sponsored us, But barely. Look: just. No. I'm not endorsing this. Why. Because! It's killing people! Shh! It is! He–'s uh–joking. Actors! Improvising! Hush. Left and right! Speaking of left and right– You know who our sponsors are, right? Of coure! This nonsense! No! The– Shh–! –Owners of this product. Beg your pardon. Do you know who owns this brand and company? No. Well, do your research. Immediately. I highly recommend that. This seems serious. Serious as a heart attack. ACTION! Fuck you! Nuhhhhh–fuck you, you fucking fuck! Look, you lost, alright. Ughhhhhh. It's three to one. Three to one?! Yes. Fuck. Wait a–wait– What. Aren't there five of you guys? What? Huh-huh? No. Yes. There are. No. There's. Why. Five–of us–four of us You're lying. One, two, three *hiccups* four– Strike force “five”? I'm two guys! FUCK. We're missing one. Fuck. They figured us out. I figured out nothing. I'm drunk. I Fluffed. just know the difference–s between Five and One What. Four and Five! okay . Fuck. Well that's right. Well can't we just do it with us. NO! Why not. Because. the singularity has to be in the exact circumstance when this lightning strikes as the first one was. But– That's impossible. It's not–*hiccups*--umpossible. I was 9! “9 and a half!” “The half counts.” But not right now! Because i'm like a 60 year old guy! What! Gross. You're 60?! I think so! Then how old am I!?! I don't know! How old were you before!? I'm your brother! You don't know how old I am!? You're not my brother now, so maybe–I don't know–you never were! *gasps* take that bacK! [The boys fight amongst eachother] Fuck me, man. No thank you. What in the fuck did I write. I don't know but. CUT TO Ooh. Dice. DON'T TOUCH *poof* ENTER THE MULTIVERSE: L E G E N D S “The Magic Dice” (A Triad) NICE. FUCK yOu DUDE. nO fuck U U dElEETED My WRLD. THen is must not have been that great. *exaggerateD gasp* *even more exaggerated gasp* *Fluffs* *fluffs harder* *explodes* [The Festival Project ™ ] MEANWHILE The Aliens Are On A Pirate Ship, There's Still No Sign of [Redacted] and that's what this beat is called. -U. iS this a montage? Idk it just seems like a ship sinking in very slow motion. [A pirate ship full of aliens is sinking in very slow motion in a thunderous maelstrom.] (in IMAX 3D) Wow. I like that. This is fascinating. JIMMY KIMMEL is pacing relentlessly; he is driving the other hosts up a wall. KIMMEL I'm hungry, I want pants. I'm hungry– I want pants– Jimmy... KIMMEL I'm hungry– Jimmy! KIMMEL I want pants! JIMMY! KIMMEL WHAT! I'M HUNGRY AND I WANT PANTS! Oh, is that when— CRAIG FURGUSON has had enough. CRAIG You want bloody pants! KIMMEL YES! I WANT PANTS! CRAIG You know what! Fine! I'll make you some fucking pants if you just–shut UP! KIMMEL AND I'M HUNGRY. CRAIG FIRST THINGS FIRST! CRAIG FURGUSON assembles some very eclectic pants from the drapery inside the mansion; this of course reveals the windows to be boarded up in a highly distinct bunker-like maximum security prison-ish fashion, but THE HOSTS at the very least now have makeshift pants; which are startlingly fashionable: read: bohemian chic. Why do mine have beads still attached? He pulls the decorative ripchord and his fly opens promptly. Oh. CRAIG FURGUSON For emergencies. He continues pulling it in sequence with the matching lamp; he alternates turning the lights on and off and opening and shutting his pants flap in admiration. CRAIG FURGUSON CONT'D In case you really have to go. (Facinated) Ooh! CRAIG FURGUSON is satisfied with his work. CRAIG FURGUSON CONT'D I guess you could say, “The curtains match the drapes” CONAN O'BRIEN (beat) …not mine. {Enter The Multiverse} Fearsome, fearsome friends– Fearsome fearsome few Fearsome fearsome tears Listen whispers Fearsome twin Silly hollows All the lies All that waits is Hollywood and chosen five at ends of times All that waits are kings and wisdom All that knows are far, and farther All that needs is nothing, lessons All that fears is our kind Waiting. Shallow. Whispers, Gaining, Hornets nests and looming , gifted Shadow watchers Our time Farrows, Listen, Glistening as sparrows, Gifted– Kill God, There remains a far price There remains a far cry A call to wolves A false time The fabric is losts on Ghosts and Carry trains, Wishes and Tilted, Whisperers Before our Galaxy of Hard times and Wishes, Wishes, Wilting, Flowers, Waiting, Waiting And Waiting And Waiting And wanting but watching The water Gallons Fly up The wanted Waiting The gallows Have haunted us Far cries, Far cry Fear twins, have shattered To notice us Chatterbox Listens and Life turns and Waiting and Galaxies Gallantly Waiting The gallows Have haunted us Waiting And Waiting And Waiting and Water. We're watching you. An ACHINGLY TALL red-headed fellow finds himself in a FIGHT TO THE DEATH, being cast over eons and decades, and cascaded in and our of portals throughout the ever-infinite dimensional portals of unknown realms as his grasp on life itself and reality begins to fade as he crosses in and out of parallels, one galaxy to the next and one lifetime to another, gripping death and darkness in one hand and light and living in the other. In this bloody brawl, scrawling across an expanse of unknown and unknowable times and realms, this mystic remains still yet as infinite and omniscient in himself as the Gods he looks to for mercy, as the journey has been known to become of these very same deities in its context and process. A folding timeline of blood and sacrifice melds itself into the rope of the materiel worlds; not one fabric of time but many twisted and woven fibers into one rope from which he climbs into the ranks of the upperworld–or heaven, then also slipping seemingly sometimes into the depths of the underworld, a Hell known to all man as this, existence not as one but many consumed in the shadow processes of wickedness and torture, war amongst one another, and the well known humanities of pride, faith, justice and wealth. …this is supposed to be Conan? Uhh… “Achingly tall red-head?” yeah I guess. –O'Brien? [beat] He seems capable. Don't pity me, For not I weep of our pride on doorsteps not allowed, But for the grace and hope of fortune in another world i've known But lest forgotten; Do not feign me for my ignorance in desire, For I am not of man, or woman, or grain, or stone But of the world itself and all ire. (Don't doubt me.) To be cruel not those who pass judgement That weighs in this way or that is utmost critical, In this the end of times and now the end of my desires, And yet the way that I have known, And the offer I have rung Is not here, but elsewhere. And yea, I walk alone. Amen. What the fuck does this have to do with show hosts. Almost always Irish Catholic Almost Always clothed in robes Almost Always fathers, aren't I? Almost always old, of Rome. Almost always birds of feather Almost always sticks and stones Almost always on the airwaves Almost always silver, gold Slither, Slither, Here i wait And Slither slither, Here I came And whether she will slit her wrists Is neither here Nor either there It's a comfort that I offer you to slaughter; That you'd rather not to love but instead murder– I'd be better off to love, then kill you after, Course, tarantula, or just as well, a spider. It's a comfort that I offer you to kill me; Lay my head upon a sanded wooden platter– That you'd rather me to say I'd kill than love you– So I rather just to love, then murder after. Woah. Good to God, God ought to know. I close my palms together full of laughter, So. Good to God, God ought to know, I sacrified my life for ever after. So far. Good to God, God ought to know, That all he wants, I want My heart is surely shattered. Now what. Good as God, God ought to know, That all I want becomes; The looking glass, The wishing well, The cross to bare The shepherd to the pasture. Amen. Omen. All men. Want none. But one. But– So. [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS W E L C O M E -Ū. Copyright The Festival Project, Inc. ™ & The Complex Collective © 2015-2025 All Rights Reserved B A C K Tales of A Superstar DJ

Television Series Concept: "Tales of a Superstar DJ" Premise: "Tales of a Superstar DJ" exists within the sprawling multiverse of "Enter The Multiverse," revealing the deeply personal, often painful, and ultimately triumphant journey of Blū Tha Gürū. Born of ascended dimensions and gifted with unparalleled creative genius, Blū faces the paradox of her destiny: to become the world's greatest DJ and healer through sound, while navigating profound earthly challenges like body dysmorphia, the scars of loss, racism, homelessness, and the crushing weight of her hidden secrets and battles with mental health. Armed with a cheap video camera and an unwavering cosmic mandate, Blū will record her raw, unvarnished ascent, blending mind-bending sets with intimate glimpses into her struggle for love and self-acceptance, all while the universe conspires to push her towards the decks. I've got a secret, a dirty little secret. Oh, it's you. I called first, if that makes a difference. It doesn't. The man, a tall and dapper elegant fellow is quiet and refined— PEONY (pronounced “penny”) wel known amongst the folks at the library has climbed each rank with a rapid whimsy, for which he has earned his respect and the seat he claims here, in this palace. His jacket is of a fine side and velvet, trimmed with leather to match his strange loafers— trimmed with a golden and silver toe, to match the cufflinks and the belt, and even the tie, and appearing to be covered in gems and crystals. Sir. Thank you. Another man approaches. The dodo rang! Of course. Sit, will you! Will I? You might, or not, but i haven't the time! Spare me the riddles — but give me the rhyme. The rhyme costs but one, pretty penny. Only a shilling I've to spare. Then one shilling will do; One prune, and one pear. {Enter The Multiverse} [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019-2025 ™ All Rights Reserved. -Ū.

Television Series Concept: "Tales of a Superstar DJ" Premise: "Tales of a Superstar DJ" exists within the sprawling multiverse of "Enter The Multiverse," revealing the deeply personal, often painful, and ultimately triumphant journey of Blū Tha Gürū. Born of ascended dimensions and gifted with unparalleled creative genius, Blū faces the paradox of her destiny: to become the world's greatest DJ and healer through sound, while navigating profound earthly challenges like body dysmorphia, the scars of loss, racism, homelessness, and the crushing weight of her hidden secrets and battles with mental health. Armed with a cheap video camera and an unwavering cosmic mandate, Blū will record her raw, unvarnished ascent, blending mind-bending sets with intimate glimpses into her struggle for love and self-acceptance, all while the universe conspires to push her towards the decks. I've got a secret, a dirty little secret. Oh, it's you. I called first, if that makes a difference. It doesn't. The man, a tall and dapper elegant fellow is quiet and refined— PEONY (pronounced “penny”) wel known amongst the folks at the library has climbed each rank with a rapid whimsy, for which he has earned his respect and the seat he claims here, in this palace. His jacket is of a fine side and velvet, trimmed with leather to match his strange loafers— trimmed with a golden and silver toe, to match the cufflinks and the belt, and even the tie, and appearing to be covered in gems and crystals. Sir. Thank you. Another man approaches. The dodo rang! Of course. Sit, will you! Will I? You might, or not, but i haven't the time! Spare me the riddles — but give me the rhyme. The rhyme costs but one, pretty penny. Only a shilling I've to spare. Then one shilling will do; One prune, and one pear. {Enter The Multiverse} [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019-2025 ™ All Rights Reserved. -Ū.

Television Series Concept: "Tales of a Superstar DJ" Premise: "Tales of a Superstar DJ" exists within the sprawling multiverse of "Enter The Multiverse," revealing the deeply personal, often painful, and ultimately triumphant journey of Blū Tha Gürū. Born of ascended dimensions and gifted with unparalleled creative genius, Blū faces the paradox of her destiny: to become the world's greatest DJ and healer through sound, while navigating profound earthly challenges like body dysmorphia, the scars of loss, racism, homelessness, and the crushing weight of her hidden secrets and battles with mental health. Armed with a cheap video camera and an unwavering cosmic mandate, Blū will record her raw, unvarnished ascent, blending mind-bending sets with intimate glimpses into her struggle for love and self-acceptance, all while the universe conspires to push her towards the decks. I've got a secret, a dirty little secret. Oh, it's you. I called first, if that makes a difference. It doesn't. The man, a tall and dapper elegant fellow is quiet and refined— PEONY (pronounced “penny”) wel known amongst the folks at the library has climbed each rank with a rapid whimsy, for which he has earned his respect and the seat he claims here, in this palace. His jacket is of a fine side and velvet, trimmed with leather to match his strange loafers— trimmed with a golden and silver toe, to match the cufflinks and the belt, and even the tie, and appearing to be covered in gems and crystals. Sir. Thank you. Another man approaches. The dodo rang! Of course. Sit, will you! Will I? You might, or not, but i haven't the time! Spare me the riddles — but give me the rhyme. The rhyme costs but one, pretty penny. Only a shilling I've to spare. Then one shilling will do; One prune, and one pear. {Enter The Multiverse} [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019-2025 ™ All Rights Reserved. -Ū.

It was surreal, I was off the grid and in airplane mode, and completely lost without giving a care I was so frustrated that I just kept waking. Just when I started to seriously consider suicide, with the exact timing of my thoughts reaching the logistical point that ‘there was really nothing let in the world for me'— then it appeared right before my eyes; as if it had just sprung up in my path. I wasn't worried that I was lost, or even panicking in a suicidal spiral, I just thought to myself “It's really time to go.” Then, the radio tower, which looked something like a sigil that had been appearing to me over and over. It made no other kind of sense; my phone wasn't connected to the internet, nor was maps installed; my location was off and in lockdown mode, and I knew I had missed the turn for Whole Foods… and just kept walking. In airplane mode, listening to heavy rock, wondering why I should even try at anything at all when Suddenly i realized It was a radio station. I didn't know what kind of music, but it didn't matter— I had music in all the genres. And though it was with intense irony that I had pretty much entirely given up on DJing, especially for the moment— here was this, something I just stumbled upon after walking what seemed pretty aimlessly into an almost suicidal frame of mind— not unheard of. My apartment was a hellscape and walking around Brooklyn was not much difference, besides that I was in the noise rather than on top of it. Either way, it was so exact I couldn't tell whether it happened before or at the same time, almost as if the universe's response to my logical needing to just kill muself off before it could get any worse was this thing I had very recently, pretty much entirely meaningfully abandoned. Trying to be a DJ. Was I trying? I didn't know. But either way, I had music out and business cards in my pocket, and so here it just must have been where I was walking to, anyway. At least I got rid of the trackers by confusing them— and myself— by completing a large circle in the opposite direction of the way I was sure I was supposed to be going. I'm hungry And I'm lonely And nobody loves me anyway I never feel at home And look Nobody wants me anyway My body is a rotting truck Nobody wants me anyway I might as well have been a corpse Nobody wants me anyway lol Didn't it have like ham, And— — both these cheeses. Cojita and queso blanco. With like— Pinapple, I think— And like, a kosher dill pickle. Hence the Dill. I guess. It was a really good sandwhich. Yeah. Oh well. When the friend in your head ends, And just drops dead, so you run in With the old hog for a laugh and a couple of Drops of syrup Water fountain Now I'm hungry It's been years But who the fuck is counting. We all made bad decisions and choices Mine was to jump first, Yours comes with comfort, a petite stature And a long slovic look with an axe tongue And a language no one on earth speaks But those who had what most or none do And you wonder why I close my eyes and suffer harder in oceans of blondes Far off looks of lost souls Eyes of oceans And no monuments without our fortunes Wrong, bud. I put it on a kings Hawaiian roll One for ever one I've suffered We have the same deck of cards, Only mine can talk, son Look, I wrote you an open socket Conform to nothing Nobody loves me, anyway cause I get hungry Go be a husband, dope boy Go be a Carhart, countryman Go be a store bought doughboy That ought to solve it Dropped you on Stop that Round the corner 9 holes of golf left I told you who won that Round one What a way to die What a way to live What a way to love King James! What away to lose. What away to tie. What a way to die. What a way to lie! King James! I've got bibles for miles And eyes on my articles, Isis on cycles And Christs in criseses I put a thorn on your mailbox Will you promise to prick it? The finger I picked it! The truth was involved And in blood it was written The ritual sense, Pretenses Pretend this didn't happen “I didn't” I swore throat on your mailbox I promise I nailed the mailman and ten blondes Just not to fawn at the thought of ya Fawn at the thought of you But oh am I woke on my tired Regardless I simple don't write in code —till I'm inspired. Woah! What a lovely scroll you wrote! King James! What the fuck made me write that? Scallions! There's a million ways to die And oh, The toll of having Wolverine Wrapped around your finger Aspartame Had better bitter sanctions From the tales of old Histophcles And obstacles The Oxford girls? More tour bus stories, Blonde hair Broke Bloke, Tits and tits and Have you written any sentiments About your post mortem. Of course. I even put my will in order It's obvious they want me dead And rather than a lover There simply is no love left! String her up and cut the torso, Let the blood fall And the organs, And the morbid flesh rot, Soaking all of her horror stories Of love and unrequited hypocrisy! There, there, settle down. You haven't one yet I still have an ounce of coke in my pocket Coke in my pocket And I can't pronounce the name of my next guest, The show I'm hosting— I might as well just sound it ouhhuuuut— Cold . Okay, then. I can have a pilot in a month with just the look of him Without it on a tub of Petroleum jelly or whatever jew bargain I cried so much I really liked the taste of reddi whip You know I guess I just Wasn't ready for it Will and Grady, Grace and Katie Now were all watching Cause they're younger While we're steady greying Who are her?! I'll hire her. Not so fast, A laundry list of thoughts And plummeting stock options I still love all my loved men But nobody loves me So unrequited is the prerequisite for this poet And so I chose to split open With my guts, hunting forward into the cut Knowing, my purple entrails will impale you And the words I have laid here I didn't fit the herd mentality And still was lead to slaughter Haha, Charade you are, sir. I know my love when I'm shadow bonded. Not now, Matthew, James and I are talking, Dear brethren As brother And mother and son And as whore and horror show. Tell me something, sparrow Did I throw you off your steep cut oats It's heavy on the tongue With whispers that I love you Mother son and brother Just around the corner Bear around the bush again Just to jack it off, or up The spare tire's on a doughnut How god loving I want the world, my whole throat Throbbing at the thought of concepts Lover, lover, lover— magnet, skip a turn And call his mother No one's going home alive Or any other way, So I just call the others, Others Fathers, Sons, And brothers Ties And bonds— A uniformed comfort. My hopes. In an evolving box. L E G E N D S {Enter The Multiverse} [The Festival Project ™ ] The Collective Complex © COPYRIGHT THE FESTIVAL PROJECT ™ , INC. 2019-2025 ALL RIGHTS RESERVED -nobody, by now. (-Ū.) INT. RAVE. DAY-ISH. CARL COX Answers the Phone. Oh yes, oh yes? Tales of a Superstar Dj

It was surreal, I was off the grid and in airplane mode, and completely lost without giving a care I was so frustrated that I just kept waking. Just when I started to seriously consider suicide, with the exact timing of my thoughts reaching the logistical point that ‘there was really nothing let in the world for me'— then it appeared right before my eyes; as if it had just sprung up in my path. I wasn't worried that I was lost, or even panicking in a suicidal spiral, I just thought to myself “It's really time to go.” Then, the radio tower, which looked something like a sigil that had been appearing to me over and over. It made no other kind of sense; my phone wasn't connected to the internet, nor was maps installed; my location was off and in lockdown mode, and I knew I had missed the turn for Whole Foods… and just kept walking. In airplane mode, listening to heavy rock, wondering why I should even try at anything at all when Suddenly i realized It was a radio station. I didn't know what kind of music, but it didn't matter— I had music in all the genres. And though it was with intense irony that I had pretty much entirely given up on DJing, especially for the moment— here was this, something I just stumbled upon after walking what seemed pretty aimlessly into an almost suicidal frame of mind— not unheard of. My apartment was a hellscape and walking around Brooklyn was not much difference, besides that I was in the noise rather than on top of it. Either way, it was so exact I couldn't tell whether it happened before or at the same time, almost as if the universe's response to my logical needing to just kill muself off before it could get any worse was this thing I had very recently, pretty much entirely meaningfully abandoned. Trying to be a DJ. Was I trying? I didn't know. But either way, I had music out and business cards in my pocket, and so here it just must have been where I was walking to, anyway. At least I got rid of the trackers by confusing them— and myself— by completing a large circle in the opposite direction of the way I was sure I was supposed to be going. I'm hungry And I'm lonely And nobody loves me anyway I never feel at home And look Nobody wants me anyway My body is a rotting truck Nobody wants me anyway I might as well have been a corpse Nobody wants me anyway lol Didn't it have like ham, And— — both these cheeses. Cojita and queso blanco. With like— Pinapple, I think— And like, a kosher dill pickle. Hence the Dill. I guess. It was a really good sandwhich. Yeah. Oh well. When the friend in your head ends, And just drops dead, so you run in With the old hog for a laugh and a couple of Drops of syrup Water fountain Now I'm hungry It's been years But who the fuck is counting. We all made bad decisions and choices Mine was to jump first, Yours comes with comfort, a petite stature And a long slovic look with an axe tongue And a language no one on earth speaks But those who had what most or none do And you wonder why I close my eyes and suffer harder in oceans of blondes Far off looks of lost souls Eyes of oceans And no monuments without our fortunes Wrong, bud. I put it on a kings Hawaiian roll One for ever one I've suffered We have the same deck of cards, Only mine can talk, son Look, I wrote you an open socket Conform to nothing Nobody loves me, anyway cause I get hungry Go be a husband, dope boy Go be a Carhart, countryman Go be a store bought doughboy That ought to solve it Dropped you on Stop that Round the corner 9 holes of golf left I told you who won that Round one What a way to die What a way to live What a way to love King James! What away to lose. What away to tie. What a way to die. What a way to lie! King James! I've got bibles for miles And eyes on my articles, Isis on cycles And Christs in criseses I put a thorn on your mailbox Will you promise to prick it? The finger I picked it! The truth was involved And in blood it was written The ritual sense, Pretenses Pretend this didn't happen “I didn't” I swore throat on your mailbox I promise I nailed the mailman and ten blondes Just not to fawn at the thought of ya Fawn at the thought of you But oh am I woke on my tired Regardless I simple don't write in code —till I'm inspired. Woah! What a lovely scroll you wrote! King James! What the fuck made me write that? Scallions! There's a million ways to die And oh, The toll of having Wolverine Wrapped around your finger Aspartame Had better bitter sanctions From the tales of old Histophcles And obstacles The Oxford girls? More tour bus stories, Blonde hair Broke Bloke, Tits and tits and Have you written any sentiments About your post mortem. Of course. I even put my will in order It's obvious they want me dead And rather than a lover There simply is no love left! String her up and cut the torso, Let the blood fall And the organs, And the morbid flesh rot, Soaking all of her horror stories Of love and unrequited hypocrisy! There, there, settle down. You haven't one yet I still have an ounce of coke in my pocket Coke in my pocket And I can't pronounce the name of my next guest, The show I'm hosting— I might as well just sound it ouhhuuuut— Cold . Okay, then. I can have a pilot in a month with just the look of him Without it on a tub of Petroleum jelly or whatever jew bargain I cried so much I really liked the taste of reddi whip You know I guess I just Wasn't ready for it Will and Grady, Grace and Katie Now were all watching Cause they're younger While we're steady greying Who are her?! I'll hire her. Not so fast, A laundry list of thoughts And plummeting stock options I still love all my loved men But nobody loves me So unrequited is the prerequisite for this poet And so I chose to split open With my guts, hunting forward into the cut Knowing, my purple entrails will impale you And the words I have laid here I didn't fit the herd mentality And still was lead to slaughter Haha, Charade you are, sir. I know my love when I'm shadow bonded. Not now, Matthew, James and I are talking, Dear brethren As brother And mother and son And as whore and horror show. Tell me something, sparrow Did I throw you off your steep cut oats It's heavy on the tongue With whispers that I love you Mother son and brother Just around the corner Bear around the bush again Just to jack it off, or up The spare tire's on a doughnut How god loving I want the world, my whole throat Throbbing at the thought of concepts Lover, lover, lover— magnet, skip a turn And call his mother No one's going home alive Or any other way, So I just call the others, Others Fathers, Sons, And brothers Ties And bonds— A uniformed comfort. My hopes. In an evolving box. L E G E N D S {Enter The Multiverse} [The Festival Project ™ ] The Collective Complex © COPYRIGHT THE FESTIVAL PROJECT ™ , INC. 2019-2025 ALL RIGHTS RESERVED -nobody, by now. (-Ū.) INT. RAVE. DAY-ISH. CARL COX Answers the Phone. Oh yes, oh yes? Tales of a Superstar Dj

It was surreal, I was off the grid and in airplane mode, and completely lost without giving a care I was so frustrated that I just kept waking. Just when I started to seriously consider suicide, with the exact timing of my thoughts reaching the logistical point that ‘there was really nothing let in the world for me'— then it appeared right before my eyes; as if it had just sprung up in my path. I wasn't worried that I was lost, or even panicking in a suicidal spiral, I just thought to myself “It's really time to go.” Then, the radio tower, which looked something like a sigil that had been appearing to me over and over. It made no other kind of sense; my phone wasn't connected to the internet, nor was maps installed; my location was off and in lockdown mode, and I knew I had missed the turn for Whole Foods… and just kept walking. In airplane mode, listening to heavy rock, wondering why I should even try at anything at all when Suddenly i realized It was a radio station. I didn't know what kind of music, but it didn't matter— I had music in all the genres. And though it was with intense irony that I had pretty much entirely given up on DJing, especially for the moment— here was this, something I just stumbled upon after walking what seemed pretty aimlessly into an almost suicidal frame of mind— not unheard of. My apartment was a hellscape and walking around Brooklyn was not much difference, besides that I was in the noise rather than on top of it. Either way, it was so exact I couldn't tell whether it happened before or at the same time, almost as if the universe's response to my logical needing to just kill muself off before it could get any worse was this thing I had very recently, pretty much entirely meaningfully abandoned. Trying to be a DJ. Was I trying? I didn't know. But either way, I had music out and business cards in my pocket, and so here it just must have been where I was walking to, anyway. At least I got rid of the trackers by confusing them— and myself— by completing a large circle in the opposite direction of the way I was sure I was supposed to be going. I'm hungry And I'm lonely And nobody loves me anyway I never feel at home And look Nobody wants me anyway My body is a rotting truck Nobody wants me anyway I might as well have been a corpse Nobody wants me anyway lol Didn't it have like ham, And— — both these cheeses. Cojita and queso blanco. With like— Pinapple, I think— And like, a kosher dill pickle. Hence the Dill. I guess. It was a really good sandwhich. Yeah. Oh well. When the friend in your head ends, And just drops dead, so you run in With the old hog for a laugh and a couple of Drops of syrup Water fountain Now I'm hungry It's been years But who the fuck is counting. We all made bad decisions and choices Mine was to jump first, Yours comes with comfort, a petite stature And a long slovic look with an axe tongue And a language no one on earth speaks But those who had what most or none do And you wonder why I close my eyes and suffer harder in oceans of blondes Far off looks of lost souls Eyes of oceans And no monuments without our fortunes Wrong, bud. I put it on a kings Hawaiian roll One for ever one I've suffered We have the same deck of cards, Only mine can talk, son Look, I wrote you an open socket Conform to nothing Nobody loves me, anyway cause I get hungry Go be a husband, dope boy Go be a Carhart, countryman Go be a store bought doughboy That ought to solve it Dropped you on Stop that Round the corner 9 holes of golf left I told you who won that Round one What a way to die What a way to live What a way to love King James! What away to lose. What away to tie. What a way to die. What a way to lie! King James! I've got bibles for miles And eyes on my articles, Isis on cycles And Christs in criseses I put a thorn on your mailbox Will you promise to prick it? The finger I picked it! The truth was involved And in blood it was written The ritual sense, Pretenses Pretend this didn't happen “I didn't” I swore throat on your mailbox I promise I nailed the mailman and ten blondes Just not to fawn at the thought of ya Fawn at the thought of you But oh am I woke on my tired Regardless I simple don't write in code —till I'm inspired. Woah! What a lovely scroll you wrote! King James! What the fuck made me write that? Scallions! There's a million ways to die And oh, The toll of having Wolverine Wrapped around your finger Aspartame Had better bitter sanctions From the tales of old Histophcles And obstacles The Oxford girls? More tour bus stories, Blonde hair Broke Bloke, Tits and tits and Have you written any sentiments About your post mortem. Of course. I even put my will in order It's obvious they want me dead And rather than a lover There simply is no love left! String her up and cut the torso, Let the blood fall And the organs, And the morbid flesh rot, Soaking all of her horror stories Of love and unrequited hypocrisy! There, there, settle down. You haven't one yet I still have an ounce of coke in my pocket Coke in my pocket And I can't pronounce the name of my next guest, The show I'm hosting— I might as well just sound it ouhhuuuut— Cold . Okay, then. I can have a pilot in a month with just the look of him Without it on a tub of Petroleum jelly or whatever jew bargain I cried so much I really liked the taste of reddi whip You know I guess I just Wasn't ready for it Will and Grady, Grace and Katie Now were all watching Cause they're younger While we're steady greying Who are her?! I'll hire her. Not so fast, A laundry list of thoughts And plummeting stock options I still love all my loved men But nobody loves me So unrequited is the prerequisite for this poet And so I chose to split open With my guts, hunting forward into the cut Knowing, my purple entrails will impale you And the words I have laid here I didn't fit the herd mentality And still was lead to slaughter Haha, Charade you are, sir. I know my love when I'm shadow bonded. Not now, Matthew, James and I are talking, Dear brethren As brother And mother and son And as whore and horror show. Tell me something, sparrow Did I throw you off your steep cut oats It's heavy on the tongue With whispers that I love you Mother son and brother Just around the corner Bear around the bush again Just to jack it off, or up The spare tire's on a doughnut How god loving I want the world, my whole throat Throbbing at the thought of concepts Lover, lover, lover— magnet, skip a turn And call his mother No one's going home alive Or any other way, So I just call the others, Others Fathers, Sons, And brothers Ties And bonds— A uniformed comfort. My hopes. In an evolving box. L E G E N D S {Enter The Multiverse} [The Festival Project ™ ] The Collective Complex © COPYRIGHT THE FESTIVAL PROJECT ™ , INC. 2019-2025 ALL RIGHTS RESERVED -nobody, by now. (-Ū.) INT. RAVE. DAY-ISH. CARL COX Answers the Phone. Oh yes, oh yes? Tales of a Superstar Dj

He is a genius who makes decisive action. There is no way on just some fluke that this man can fly off the handle with no purpose. Human, sure— and famous, yes— but in what world does this just happen. It seemed a cry for help. I was upset, but I didn't know why. I am upset. I stayed throughout the day deep cleaning and heavy thinking. I thought Joel was sober— but before long, this shock sent me into a panic of deep chaos. Was my son okay? Was his father drinking again. I wasn't thinning clearly or on any level really, besides just upset. I scrubbed everything from the walls to the baseboards, every reach of every corner, every windowsill… still upset. I sent out texts checking on my boy. It had been months since I had spoken with him— and because I had chosen to dissapear, things were somewhat calm. For once, the world hadn't always felt like something was trying to kill me; maybe his father already thought I was dead. The longer I laid low, the better things got; I couldn't let myself cry over Joel— but I could cry over that, right? I needed to cry about that, apparently. I missed my son. Something needed to be done. I needed a job. But reentering the workforce at entry level? No amount of things I could do in New York City ever seemed enough, and as far as actual deadmau5 was concerned, my music was just not adding up. I was not on par. But what the fuck was going on!! Perhaps I had just been Google alerted to my doom in just the way I was supposed to have gone in the weeks before in the wake of things. But instead this hurt in a way that was not supposed to feel the way it did. Deadmau5 was my friend, and so Joel was something attached to it. Perhaps it had just been dragged out of proportion. Perhaps it had just been publicity. Was there another album. I separated the deadmau5 from the Joel momentarily— typically he was precise and in control. Drunk and stumbling around at Coachella wasn't his forte. Joel Zimmerman was a top-notch, class act. Period. There wasn't much to do or say about deadmau5 besides that it was my next to near favorite thing— as a DJ— which made Joel one of my next to near favorite people. Without looking too closely, I began to wonder whether just having a good time could have been made to look like something else, however— last I understood, Joel was comfortable in his sobriety. 'Jesus Christ,' then. ‘What happened!‘ Tales of a Superstar DJ. Let me mask that pain Let me watch and feed you Let me die again Let me let you live a little Let me lie let me lie Let me— lie inside you Let me be your flame Let me— walk behind you Let me die, die, die Let me— rot in chorus Watch me lie lie lie Watch me harpsichord (this) I'm in so much pain Pick me up, And throw me overboard I shooted you a solution for your Writer's block on the plaza Watch me talk talk talk Now let me lie a little Watch me cry cry cry Now let me die a little Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019 ™ All Rights Reserved. C'cxell Soleïl

He is a genius who makes decisive action. There is no way on just some fluke that this man can fly off the handle with no purpose. Human, sure— and famous, yes— but in what world does this just happen. It seemed a cry for help. I was upset, but I didn't know why. I am upset. I stayed throughout the day deep cleaning and heavy thinking. I thought Joel was sober— but before long, this shock sent me into a panic of deep chaos. Was my son okay? Was his father drinking again. I wasn't thinning clearly or on any level really, besides just upset. I scrubbed everything from the walls to the baseboards, every reach of every corner, every windowsill… still upset. I sent out texts checking on my boy. It had been months since I had spoken with him— and because I had chosen to dissapear, things were somewhat calm. For once, the world hadn't always felt like something was trying to kill me; maybe his father already thought I was dead. The longer I laid low, the better things got; I couldn't let myself cry over Joel— but I could cry over that, right? I needed to cry about that, apparently. I missed my son. Something needed to be done. I needed a job. But reentering the workforce at entry level? No amount of things I could do in New York City ever seemed enough, and as far as actual deadmau5 was concerned, my music was just not adding up. I was not on par. But what the fuck was going on!! Perhaps I had just been Google alerted to my doom in just the way I was supposed to have gone in the weeks before in the wake of things. But instead this hurt in a way that was not supposed to feel the way it did. Deadmau5 was my friend, and so Joel was something attached to it. Perhaps it had just been dragged out of proportion. Perhaps it had just been publicity. Was there another album. I separated the deadmau5 from the Joel momentarily— typically he was precise and in control. Drunk and stumbling around at Coachella wasn't his forte. Joel Zimmerman was a top-notch, class act. Period. There wasn't much to do or say about deadmau5 besides that it was my next to near favorite thing— as a DJ— which made Joel one of my next to near favorite people. Without looking too closely, I began to wonder whether just having a good time could have been made to look like something else, however— last I understood, Joel was comfortable in his sobriety. 'Jesus Christ,' then. ‘What happened!‘ Tales of a Superstar DJ. Let me mask that pain Let me watch and feed you Let me die again Let me let you live a little Let me lie let me lie Let me— lie inside you Let me be your flame Let me— walk behind you Let me die, die, die Let me— rot in chorus Watch me lie lie lie Watch me harpsichord (this) I'm in so much pain Pick me up, And throw me overboard I shooted you a solution for your Writer's block on the plaza Watch me talk talk talk Now let me lie a little Watch me cry cry cry Now let me die a little Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019 ™ All Rights Reserved. C'cxell Soleïl

He is a genius who makes decisive action. There is no way on just some fluke that this man can fly off the handle with no purpose. Human, sure— and famous, yes— but in what world does this just happen. It seemed a cry for help. I was upset, but I didn't know why. I am upset. I stayed throughout the day deep cleaning and heavy thinking. I thought Joel was sober— but before long, this shock sent me into a panic of deep chaos. Was my son okay? Was his father drinking again. I wasn't thinning clearly or on any level really, besides just upset. I scrubbed everything from the walls to the baseboards, every reach of every corner, every windowsill… still upset. I sent out texts checking on my boy. It had been months since I had spoken with him— and because I had chosen to dissapear, things were somewhat calm. For once, the world hadn't always felt like something was trying to kill me; maybe his father already thought I was dead. The longer I laid low, the better things got; I couldn't let myself cry over Joel— but I could cry over that, right? I needed to cry about that, apparently. I missed my son. Something needed to be done. I needed a job. But reentering the workforce at entry level? No amount of things I could do in New York City ever seemed enough, and as far as actual deadmau5 was concerned, my music was just not adding up. I was not on par. But what the fuck was going on!! Perhaps I had just been Google alerted to my doom in just the way I was supposed to have gone in the weeks before in the wake of things. But instead this hurt in a way that was not supposed to feel the way it did. Deadmau5 was my friend, and so Joel was something attached to it. Perhaps it had just been dragged out of proportion. Perhaps it had just been publicity. Was there another album. I separated the deadmau5 from the Joel momentarily— typically he was precise and in control. Drunk and stumbling around at Coachella wasn't his forte. Joel Zimmerman was a top-notch, class act. Period. There wasn't much to do or say about deadmau5 besides that it was my next to near favorite thing— as a DJ— which made Joel one of my next to near favorite people. Without looking too closely, I began to wonder whether just having a good time could have been made to look like something else, however— last I understood, Joel was comfortable in his sobriety. 'Jesus Christ,' then. ‘What happened!‘ Tales of a Superstar DJ. Let me mask that pain Let me watch and feed you Let me die again Let me let you live a little Let me lie let me lie Let me— lie inside you Let me be your flame Let me— walk behind you Let me die, die, die Let me— rot in chorus Watch me lie lie lie Watch me harpsichord (this) I'm in so much pain Pick me up, And throw me overboard I shooted you a solution for your Writer's block on the plaza Watch me talk talk talk Now let me lie a little Watch me cry cry cry Now let me die a little Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019 ™ All Rights Reserved. C'cxell Soleïl

He dropped his album and made me feel as if everything I had done was absolutely nothing at all. It was nothing, actually— and that's when I realized I'd been in New York for two years with no actual progress. Sure, I had my own apartment and a makeshift studio that either was or wasn't suitable for making music on any given day or at any given time— But I was still broke, lugging around my groceries in a cheap backpack, and out of all the clothes in my closet, maybe 3 articles were wearable. I kept oversized t shirts in piles by the bed unwilling to sort through my laundry on most days; the closet was overstuffed with boxes— I was sure I would have to move. The traffic noise and motorcycles made me sick, a congested and irritating nausea and anxiety crawling in to my stomach in the waking daylight hours. There was only peace at night, and that was only lately. The last year had been a parade of politics and political stunts; I was caught in the gentrification process by far and not only I had suffered from it, but my music. I stopped singing— stopped talking, for long periods at a time, even, and stopped being human. Eventually, I started making music, but it was nothing. 20 listeners and an average of three streams a day would almost make me proud, until out of nowhere and thinking it was some kind of hoax, another Skrillex album appeared — just days or maybe even on the day I had turned the corner where I had first listened to the last Skrillex album— or, the last palpable one. The second one sounded like it was made for kids— and it wasn't hard at all to consider this was the kind of music he was making spending his time around rich brats and only fans girls— it sucked, but it didn't matter, because nothing sucked worse than being homeless in New York, which is how I spent the following year after the long awaited return of Skrillex just so happened to coincide with my arrival to a city I never wanted to live in, ever. A city I was stuck in, but almost with the false promise of becoming greater— finally proud of the fact I was making music and expecting whatever Skrillex was to dissappear into a lull of lollipop DJs and brainwashed fan culture— his music was good, if probably not the best and people loved him for whatever he did; as for the rest of us? It was a struggle to even be noticed. Tales of a Superstar DJ.

He dropped his album and made me feel as if everything I had done was absolutely nothing at all. It was nothing, actually— and that's when I realized I'd been in New York for two years with no actual progress. Sure, I had my own apartment and a makeshift studio that either was or wasn't suitable for making music on any given day or at any given time— But I was still broke, lugging around my groceries in a cheap backpack, and out of all the clothes in my closet, maybe 3 articles were wearable. I kept oversized t shirts in piles by the bed unwilling to sort through my laundry on most days; the closet was overstuffed with boxes— I was sure I would have to move. The traffic noise and motorcycles made me sick, a congested and irritating nausea and anxiety crawling in to my stomach in the waking daylight hours. There was only peace at night, and that was only lately. The last year had been a parade of politics and political stunts; I was caught in the gentrification process by far and not only I had suffered from it, but my music. I stopped singing— stopped talking, for long periods at a time, even, and stopped being human. Eventually, I started making music, but it was nothing. 20 listeners and an average of three streams a day would almost make me proud, until out of nowhere and thinking it was some kind of hoax, another Skrillex album appeared — just days or maybe even on the day I had turned the corner where I had first listened to the last Skrillex album— or, the last palpable one. The second one sounded like it was made for kids— and it wasn't hard at all to consider this was the kind of music he was making spending his time around rich brats and only fans girls— it sucked, but it didn't matter, because nothing sucked worse than being homeless in New York, which is how I spent the following year after the long awaited return of Skrillex just so happened to coincide with my arrival to a city I never wanted to live in, ever. A city I was stuck in, but almost with the false promise of becoming greater— finally proud of the fact I was making music and expecting whatever Skrillex was to dissappear into a lull of lollipop DJs and brainwashed fan culture— his music was good, if probably not the best and people loved him for whatever he did; as for the rest of us? It was a struggle to even be noticed. Tales of a Superstar DJ.

He dropped his album and made me feel as if everything I had done was absolutely nothing at all. It was nothing, actually— and that's when I realized I'd been in New York for two years with no actual progress. Sure, I had my own apartment and a makeshift studio that either was or wasn't suitable for making music on any given day or at any given time— But I was still broke, lugging around my groceries in a cheap backpack, and out of all the clothes in my closet, maybe 3 articles were wearable. I kept oversized t shirts in piles by the bed unwilling to sort through my laundry on most days; the closet was overstuffed with boxes— I was sure I would have to move. The traffic noise and motorcycles made me sick, a congested and irritating nausea and anxiety crawling in to my stomach in the waking daylight hours. There was only peace at night, and that was only lately. The last year had been a parade of politics and political stunts; I was caught in the gentrification process by far and not only I had suffered from it, but my music. I stopped singing— stopped talking, for long periods at a time, even, and stopped being human. Eventually, I started making music, but it was nothing. 20 listeners and an average of three streams a day would almost make me proud, until out of nowhere and thinking it was some kind of hoax, another Skrillex album appeared — just days or maybe even on the day I had turned the corner where I had first listened to the last Skrillex album— or, the last palpable one. The second one sounded like it was made for kids— and it wasn't hard at all to consider this was the kind of music he was making spending his time around rich brats and only fans girls— it sucked, but it didn't matter, because nothing sucked worse than being homeless in New York, which is how I spent the following year after the long awaited return of Skrillex just so happened to coincide with my arrival to a city I never wanted to live in, ever. A city I was stuck in, but almost with the false promise of becoming greater— finally proud of the fact I was making music and expecting whatever Skrillex was to dissappear into a lull of lollipop DJs and brainwashed fan culture— his music was good, if probably not the best and people loved him for whatever he did; as for the rest of us? It was a struggle to even be noticed. Tales of a Superstar DJ.

He dropped his album and made me feel as if everything I had done was absolutely nothing at all. It was nothing, actually— and that's when I realized I'd been in New York for two years with no actual progress. Sure, I had my own apartment and a makeshift studio that either was or wasn't suitable for making music on any given day or at any given time— But I was still broke, lugging around my groceries in a cheap backpack, and out of all the clothes in my closet, maybe 3 articles were wearable. I kept oversized t shirts in piles by the bed unwilling to sort through my laundry on most days; the closet was overstuffed with boxes— I was sure I would have to move. The traffic noise and motorcycles made me sick, a congested and irritating nausea and anxiety crawling in to my stomach in the waking daylight hours. There was only peace at night, and that was only lately. The last year had been a parade of politics and political stunts; I was caught in the gentrification process by far and not only I had suffered from it, but my music. I stopped singing— stopped talking, for long periods at a time, even, and stopped being human. Eventually, I started making music, but it was nothing. 20 listeners and an average of three streams a day would almost make me proud, until out of nowhere and thinking it was some kind of hoax, another Skrillex album appeared — just days or maybe even on the day I had turned the corner where I had first listened to the last Skrillex album— or, the last palpable one. The second one sounded like it was made for kids— and it wasn't hard at all to consider this was the kind of music he was making spending his time around rich brats and only fans girls— it sucked, but it didn't matter, because nothing sucked worse than being homeless in New York, which is how I spent the following year after the long awaited return of Skrillex just so happened to coincide with my arrival to a city I never wanted to live in, ever. A city I was stuck in, but almost with the false promise of becoming greater— finally proud of the fact I was making music and expecting whatever Skrillex was to dissappear into a lull of lollipop DJs and brainwashed fan culture— his music was good, if probably not the best and people loved him for whatever he did; as for the rest of us? It was a struggle to even be noticed. Tales of a Superstar DJ.

He dropped his album and made me feel as if everything I had done was absolutely nothing at all. It was nothing, actually— and that's when I realized I'd been in New York for two years with no actual progress. Sure, I had my own apartment and a makeshift studio that either was or wasn't suitable for making music on any given day or at any given time— But I was still broke, lugging around my groceries in a cheap backpack, and out of all the clothes in my closet, maybe 3 articles were wearable. I kept oversized t shirts in piles by the bed unwilling to sort through my laundry on most days; the closet was overstuffed with boxes— I was sure I would have to move. The traffic noise and motorcycles made me sick, a congested and irritating nausea and anxiety crawling in to my stomach in the waking daylight hours. There was only peace at night, and that was only lately. The last year had been a parade of politics and political stunts; I was caught in the gentrification process by far and not only I had suffered from it, but my music. I stopped singing— stopped talking, for long periods at a time, even, and stopped being human. Eventually, I started making music, but it was nothing. 20 listeners and an average of three streams a day would almost make me proud, until out of nowhere and thinking it was some kind of hoax, another Skrillex album appeared — just days or maybe even on the day I had turned the corner where I had first listened to the last Skrillex album— or, the last palpable one. The second one sounded like it was made for kids— and it wasn't hard at all to consider this was the kind of music he was making spending his time around rich brats and only fans girls— it sucked, but it didn't matter, because nothing sucked worse than being homeless in New York, which is how I spent the following year after the long awaited return of Skrillex just so happened to coincide with my arrival to a city I never wanted to live in, ever. A city I was stuck in, but almost with the false promise of becoming greater— finally proud of the fact I was making music and expecting whatever Skrillex was to dissappear into a lull of lollipop DJs and brainwashed fan culture— his music was good, if probably not the best and people loved him for whatever he did; as for the rest of us? It was a struggle to even be noticed. Tales of a Superstar DJ.

There was no cake under the candles— and I wasn't going to blow them out. If I took the moment to really think about my placement in the world, I was a mess— I aimed for perfect and wasn't— I had been exhausted the night before, not just tired, but exhausted. Maybe this isn't the birthday I should be celebrating. I was up early, but left late enough to be late. Why? Well, it just seemed nothing at all was going right. I sang happy birthday to myself— but I didn't have a name to call her anymore. I was no longer supacree— but it I wasn't really— well, it was blu'sn birthday. I just usually celebrated it in August— but now I didn't celebrate it at all. I didn't celebrate anything. All I did was work— and not get paid for it. Either way, my idea of a good birthday wasn't l. Sitting in my apartment listening to my neighbors slam the doors under a blanket of motorcycles roaring. Besides that, I owed in three competition mixes — three mixes I had no means of doing without going somewhere else to do them, because my decks were still in the pawn shop. Fuck making the bed. I put in nearly two hours in the gym and put on a full face of makeup and fresh hair under my lucky hat. Fuck the Monday morning grind. The subway car I entered smelled like hobos. I looked sharp, but for what? I wasn't sure what to expect. I had put off showing up at the sound collective for the inside of a year. I skipped the Q& A with some fake model girl called LaLa who I was sure was meant to just look exactly like iwas intended to. But I handnt quite made it to beautiful or perfect, which is probably why I shouldn't celebrate the day, let alone try to use the astrological energy for competitive mixes— it was Supacree's birthday, and so Supacree's friends and family would be thinking about her… and we shared the same tattoos, the same love for music, the same talent and drive:.. And oh, The same birthday. It was my birthday. It seemed more important this year than any other so far, and I wasn't sure why. I had told myself 32 was too old to have kids, because my mother had been 32 when she had me— “too old” for a restricted and highly spirited child— however, now looking back, she had done well enough, I was glad to have her as a mother…lucky even. I had good morals, good habits, and good taste. I was a fashion rebel, a free thinking individual all together— not the same as anyone I knew or had ever met— ever met, that is. In my own mind I was closer to a celebrity in the way that I acted, dressed and thought… more like the music makers, movers and shakers, l and doers in the world than the people who I was surrounded by. But I was supposed to love them anyway— Love them, without being like them— not trying not y, but just being myself, which automatically meant I was typically void of the lackluster energies that depressed me, filled me with anxiety, and fear that I would be trapped in a realm lost amongst them forever. ..: Almost a complete disaster, but not— there was always something special about the day after my birthday, especially since that time I floated after ultra Miami. Apparently, normal people don't just float. Maybe I wasn't a normal person. I laughed and I laughed and I laughed until I orgasmed— not quite levitation, but an equally pleasant enough experience to have marked the day in my mind as one to be considered as somewhat special. Maybe my birth time in actuality had warranted that the day after as part of the day… but I had been born in this lifetime at least twice. Still, whatever energy was looming from my first step into this incarnation was heavy— so heavy that it brought me into a mind state that drew to the art that was familiar. The art that made me grateful for my life, and my upbringing— and all the things I loved. Apparently I had created this world and this life all in my mind— I had somehow crafted this intricate art piece as such that it could call me to remember the very origins of my being. The very essence of my life as art. Just as I reminisce the artwork I had found in the museam, my father called to wish me a happy birthday, and though I disdained my birth name for so many years, it for the first time in a long time was music to my ears. Beautiful , sweet music to be called by the name I had been born as. Tales of a Superstar DJ.

There was no cake under the candles— and I wasn't going to blow them out. If I took the moment to really think about my placement in the world, I was a mess— I aimed for perfect and wasn't— I had been exhausted the night before, not just tired, but exhausted. Maybe this isn't the birthday I should be celebrating. I was up early, but left late enough to be late. Why? Well, it just seemed nothing at all was going right. I sang happy birthday to myself— but I didn't have a name to call her anymore. I was no longer supacree— but it I wasn't really— well, it was blu'sn birthday. I just usually celebrated it in August— but now I didn't celebrate it at all. I didn't celebrate anything. All I did was work— and not get paid for it. Either way, my idea of a good birthday wasn't l. Sitting in my apartment listening to my neighbors slam the doors under a blanket of motorcycles roaring. Besides that, I owed in three competition mixes — three mixes I had no means of doing without going somewhere else to do them, because my decks were still in the pawn shop. Fuck making the bed. I put in nearly two hours in the gym and put on a full face of makeup and fresh hair under my lucky hat. Fuck the Monday morning grind. The subway car I entered smelled like hobos. I looked sharp, but for what? I wasn't sure what to expect. I had put off showing up at the sound collective for the inside of a year. I skipped the Q& A with some fake model girl called LaLa who I was sure was meant to just look exactly like iwas intended to. But I handnt quite made it to beautiful or perfect, which is probably why I shouldn't celebrate the day, let alone try to use the astrological energy for competitive mixes— it was Supacree's birthday, and so Supacree's friends and family would be thinking about her… and we shared the same tattoos, the same love for music, the same talent and drive:.. And oh, The same birthday. It was my birthday. It seemed more important this year than any other so far, and I wasn't sure why. I had told myself 32 was too old to have kids, because my mother had been 32 when she had me— “too old” for a restricted and highly spirited child— however, now looking back, she had done well enough, I was glad to have her as a mother…lucky even. I had good morals, good habits, and good taste. I was a fashion rebel, a free thinking individual all together— not the same as anyone I knew or had ever met— ever met, that is. In my own mind I was closer to a celebrity in the way that I acted, dressed and thought… more like the music makers, movers and shakers, l and doers in the world than the people who I was surrounded by. But I was supposed to love them anyway— Love them, without being like them— not trying not y, but just being myself, which automatically meant I was typically void of the lackluster energies that depressed me, filled me with anxiety, and fear that I would be trapped in a realm lost amongst them forever. ..: Almost a complete disaster, but not— there was always something special about the day after my birthday, especially since that time I floated after ultra Miami. Apparently, normal people don't just float. Maybe I wasn't a normal person. I laughed and I laughed and I laughed until I orgasmed— not quite levitation, but an equally pleasant enough experience to have marked the day in my mind as one to be considered as somewhat special. Maybe my birth time in actuality had warranted that the day after as part of the day… but I had been born in this lifetime at least twice. Still, whatever energy was looming from my first step into this incarnation was heavy— so heavy that it brought me into a mind state that drew to the art that was familiar. The art that made me grateful for my life, and my upbringing— and all the things I loved. Apparently I had created this world and this life all in my mind— I had somehow crafted this intricate art piece as such that it could call me to remember the very origins of my being. The very essence of my life as art. Just as I reminisce the artwork I had found in the museam, my father called to wish me a happy birthday, and though I disdained my birth name for so many years, it for the first time in a long time was music to my ears. Beautiful , sweet music to be called by the name I had been born as. Tales of a Superstar DJ.

Prod. by Blū Tha Gürū There was no cake under the candles— and I wasn't going to blow them out. If I took the moment to really think about my placement in the world, I was a mess— I aimed for perfect and wasn't— I had been exhausted the night before, not just tired, but exhausted. Maybe this isn't the birthday I should be celebrating. I was up early, but left late enough to be late. Why? Well, it just seemed nothing at all was going right. I sang happy birthday to myself— but I didn't have a name to call her anymore. I was no longer supacree— but it I wasn't really— well, it was blu'sn birthday. I just usually celebrated it in August— but now I didn't celebrate it at all. I didn't celebrate anything. All I did was work— and not get paid for it. Either way, my idea of a good birthday wasn't l. Sitting in my apartment listening to my neighbors slam the doors under a blanket of motorcycles roaring. Besides that, I owed in three competition mixes — three mixes I had no means of doing without going somewhere else to do them, because my decks were still in the pawn shop. Fuck making the bed. I put in nearly two hours in the gym and put on a full face of makeup and fresh hair under my lucky hat. Fuck the Monday morning grind. The subway car I entered smelled like hobos. I looked sharp, but for what? I wasn't sure what to expect. I had put off showing up at the sound collective for the inside of a year. I skipped the Q& A with some fake model girl called LaLa who I was sure was meant to just look exactly like iwas intended to. But I handnt quite made it to beautiful or perfect, which is probably why I shouldn't celebrate the day, let alone try to use the astrological energy for competitive mixes— it was Supacree's birthday, and so Supacree's friends and family would be thinking about her… and we shared the same tattoos, the same love for music, the same talent and drive:.. And oh, The same birthday. It was my birthday. It seemed more important this year than any other so far, and I wasn't sure why. I had told myself 32 was too old to have kids, because my mother had been 32 when she had me— “too old” for a restricted and highly spirited child— however, now looking back, she had done well enough, I was glad to have her as a mother…lucky even. I had good morals, good habits, and good taste. I was a fashion rebel, a free thinking individual all together— not the same as anyone I knew or had ever met— ever met, that is. In my own mind I was closer to a celebrity in the way that I acted, dressed and thought… more like the music makers, movers and shakers, l and doers in the world than the people who I was surrounded by. But I was supposed to love them anyway— Love them, without being like them— not trying not y, but just being myself, which automatically meant I was typically void of the lackluster energies that depressed me, filled me with anxiety, and fear that I would be trapped in a realm lost amongst them forever. ..: Almost a complete disaster, but not— there was always something special about the day after my birthday, especially since that time I floated after ultra Miami. Apparently, normal people don't just float. Maybe I wasn't a normal person. I laughed and I laughed and I laughed until I orgasmed— not quite levitation, but an equally pleasant enough experience to have marked the day in my mind as one to be considered as somewhat special. Maybe my birth time in actuality had warranted that the day after as part of the day… but I had been born in this lifetime at least twice. Still, whatever energy was looming from my first step into this incarnation was heavy— so heavy that it brought me into a mind state that drew to the art that was familiar. The art that made me grateful for my life, and my upbringing— and all the things I loved. Apparently I had created this world and this life all in my mind— I had somehow crafted this intricate art piece as such that it could call me to remember the very origins of my being. The very essence of my life as art. Just as I reminisce the artwork I had found in the museam, my father called to wish me a happy birthday, and though I disdained my birth name for so many years, it for the first time in a long time was music to my ears. Beautiful , sweet music to be called by the name I had been born as. Tales of a Superstar DJ.

TITUS Come, now— As the king does sit upon my throne, Though not a King myself as I, Still cherished among men and many Who are in thine favor, As you seek truth to bear, my King And not your but also yours, Does partake thy bethrotjen nature, To swallow whole a seed a assumption as To vanish by trace, The rather and tide to bond, For truth you seek, And truth I bear, As fruit does grow, By force of not God, But nature, And to thine, the faring way The truth does seek you, too Thus, my God and Queen— But also King, Ruler never captured And gained wisdom by time, Which— None does have, but thyself. And now, Titus. To know,node bearing fruit are I And bearing truth shall you, A lesson gathered, as you as one And I as other— under the assumption of Love What is love? God, this is a sausage feat in here. Let's get some women in this bitch. Oh, there are women— They just don't speak much— Especially in this series Ascension. Because they're perfect. Archaic is this, A truce for the truth I seek. A wage for the war I've bargeouned. Listen now. You tell me. I tell you all that I know, For nothing now, And in nothing's sake, The shared alter. I, too, you. And you to I— Have we parted but some to forge But others? No others remain. And still I gather. With flower. And grow thy seed. The fruit, or truth? No difference. A tree, I am born. To wake. A shadow in the summer's night where autumn azure sun does beem, The wicked truth you lie to pardon Stands in its own awakening; Shallow moon tide's at dawn, And so, you kind folk of Kingdom there And Kingdom come, The truth is said as this, The seed the fruit— The love was born in ritual, And only then, The dance was made, For the song to have been sung as such. Dear Queen, my heart. For never better none has taken guilt in wavering the time has come; Never now but always forward And never there but always bound, To love itself, And so I am. Again. Trust me. I have. The King is slain. —but also lives. As haunted and as haunting no doubt, But to gain is this, my trust And in your waiver— the vow My honor, and sacntity so. The swine. Not of this realm, but others seek. And in this realm and others so The truth of fruit shall parish, Ignored and never eaten Never to have grown from seed, And then, of course, No tree shall I shadow In midnight summer's truth, The blue azure light, Of seeking sun, Soon to align, By midnight dawn, And waking tide— The moon you say. A sworn disaster. And so, I pray. All's fair. And you. [TITUS with a heavy heart exits the corridor.] {Enter The Multiverse} The Strine Force Five assembles in the basement before supper is called SETH, a peckish boy, almost goilish looking, maybe 11 or so steals cookies from OLIVER, who might be about 9, who speaks with a heavy and very proper English accent— Stop stealing my biscuits! Why bring them if you're not going to share? I did share. You lot had the box! You know these are cookies, right? They're my special biscuits. UPSTAIRS, MOM and DAD, very much the classic stereotypical suburban and American everywoman and Everyman prepare for supper. DAD, who resembles almost too much the LATE JOHNNY CARSON, peers into his newspaper conspicuously— Who does mom resemble? Let me — LATER, at the DINNER TABLE. Boys, Say hello to your uncle Steve. [The man heavily resembles Steve Allen] OLIVER Hello, Uncle Steve! UNCLE STEVE …I'm not your uncle. LIL JIMMY (Mumbling) I don't like uncle Steve… BIG JIMMY elbows him. Hard. LIL JIMMY Ow! BIG JIMMY smacks him upside the head, however without harming his very neatly done swooping hair. LIL JIMMY Where's uncle Jack? UNCLE STEVE He's on his way. DAD (Grumbles) …always late. LIL JIMMY (also grumbling, almost mimicking) —that's what I'm saying. BIG JIMMY shoves LIL JIMMY into his seat Also meanwhile, in another alternate dimension. So you're real name is JIMMY WANG. I fucking guess. That's nuts! —it's..:whatever. No, that's nuts— No, it's balls, homie, Your actual name is actually “Dick” twice. Hehehehe. Stop it. Did you have a middle name. No! Let me see. NO. Stop— let me— NO! [he grabs the birth certificate from Jimmy's grip] Let's see. —Jimmy— UGH, Oh, that's interesting, Jimmy and not James, how endearing—let's see— Jimmy—Ah, RICHARD— Wang. Oh my God. Your whole name is just— STOP IT. —it's just dicks. Just—penis words. Tripe dicks. AH! [nearly in tears, JIMMY runs to sulk into the washroom while his buddies continue making dick jokes; it's almost to much to bear—having learned so much about his true identity, most recently, that he was adopted at a very young age from a very nice Asian couple.] SUNNI BLU (Reading newspaper, breaking fourth wall) I told you he was Asian bro. SUDDENLY, Deadpool crashes through the door. SUNNI BLU tosses the super hot model in their lap across the room. YO. DEADPOOL. DEADPOOL YO. SUNNI BLU NOT COOL, BRO. DEADPOOL —what was your name again? SUNNI BLU Ya mutha! DEADPOOL NOT COOL. SUNNI BLU Whateva. {Enter The Multiverse} “Tools of the Trade” Welcome to Hollywood. Who are you? That's not important. It seems important. Now—lessonsz Ok. Tools of the trade: Uh huh. My dick. [he insinuates his crotch] Package. My dyke. [A very pretty lesbian appears out of nowhere.] Hello. My Dick Van Dyke. DICK VAN DYKE also appears out of nowhere. Woah, dude! Careful, he's priceless. I know dude. I can hear you, you know. I hear you too, Dick. Woah! How old are you, dude? Old! Get out of here; Go lay down; Take a nap! They said the gig was till 3. You're off early. Or late. [DICK VAN DYKE turns to leave.] I can still hear you. sweet yellow pinapple and coconut curry over brown rice and lentils sounded like a good Christmas Eve In— “Wait? It is Christmas Eve, isn't it?” I checked the date and time as my phone connected to the wifi. “Yep.” I concurred, slurping the last of the curry broth from my dinner bowl— my second, but most likely out of three. I'd made enough to last however two or three days, and though I had been offline for throught most of now what seemed the entire month, letting my bills lapse over to make nonexistent room in the budget for the peloton, which seemed fair, considering how small I was getting, even cooking and eating myself into the non complacent waking coma that was the vivid and apt focus needed to create music for hours on end—something I had never quite done before in a certain way, and it seemed as though working in this fashion seemed somehow to have moved me solidly forward and sideways through time a bit—some sort of diagonal. I had rested the Sabbath and in the midst of it fallen behind by two days, but making up for it and catching up speed, I had submitted two releases in the early morning on the same day, now coming to an end—and somewhere in the middle, waking up after the fact to a fresh blanket of snow and the whimsy that came with it. A white Christmas afterall, perhaps, if it didn't melt by the following morning, which, judging by the fact that the coffee in the tumbler was still piping hot and not just like warm—I.e., fresh—that I might the same be up early into Christmas morning, also the first day of Hanukkah, and although I had forgone getting a menorah, after the attempt to pick up a free one I had found online over the summer in search of a cat, it didn't seem worth the cost to buy one; I was saving for too many things at once, which meant also nothing, but I couldn't be happier to spend the holidays alone and quietly— I couldn't be with the one person I wanted most, anyway, and so being alone was the next best thing. I almost wished I had've found the cat by now, but it was probably better that I was for the most part, unanchored, and could travel at will if needed. I thought to submit some of my new songs as demos to labels or into contests to try to find a job, but either way I knew in the moment that I would be playing live again by spring, even if it was just barmitsvahe and weddings, the latter of which I actually hoped to avoid, besides the Jewish ones—and my affinity for Jews had become remarkably trademark; as if I had some sort of reason to like them more over time, but I hadn't one—not that I actually knew of, anyway. I had forgotten why I had been checking my email incessantly anyway, besides the new sound packs that seemed to have been magically pouring in, which i became excited to use when the right time struck to dive back into aboleton, learning in broad lessons in how there was a grace period between finishing and submitting tracks and starting again, and being careful not to sink into monotony—until I finally remembered, checking my email—that I had been nervous about samples from one of the latest releases clearing—however—a miracle indeed, it had been approved, and the message sit atop a pile of nonsense in the rest of my email with the news that it had been delivered to stores— I had put out about 15 singles since the beginning of the month and had a week's time more in my subscription to the distribution service—and I planned not to waste any time before my account being terminated— not that eventually I wouldn't renew the subscription, however— it would be at least a few months and probably into the early spring. I had, after all, purchased the subscription around the same time a year sooner, which allowed me to purchase the service at half price— a luxury which no doubt would end before my next payday, and after the payment for my Peloton—however— I thoroughly enjoyed keeping my energy well to myself, and it seemed I was recovering well from having been followed to the gym and harassed, however, now the annoyance was— my neighbor wouldn't leave me alone. She was high maintenance, full of drama, probably a little bit toxic— And now, she wanted to be friends. I thought it best to stay on her good side, and had politely declined the invitation to Christmas at her apartment with her mother, but knew that until one of us moved, I would have to safely navigate the trenches of neighborly rapport; though something told me to be careful with the valitile fragility of the entire thing, it seemed almost the same with anyone, even old friends, that trust itself was rare to have in others, and so my holiday wishes had been simple and humble in truth; it had snowed, and I was alone, and making music— the home gym set-up, complete with yoga mat, Peleton and pink treadmill were simply a bonus. —Tales of a Superstar DJ. [The Festival Project ™] Seven wooky dudes stand candy coated in the VIP section at a major music festival. Who brought them!? U did. Now I wonder ‘What's the difference' Same profession, So much distance I misjudged this; Thought I had it all Wedged behind one ear, Forlorn, (For Lorne) And one finger to the socket Sock puppet watching porn of Elmer Fudd Now, knock it off— I wanna know why god chose the number one, Folders up dollar bill Back of the collections call The corner, a sharp deposit Sure, For figure, full figured dolphins Sawed it all off— A saw tooth lecture; So fire sure a God, But then, A one lost walkie talkie And the other is, of course Without a battery For famine, is it? I also starve. (It's good curry, though.) No more batting practice And no more favors, I'm sure I won't bring it up I've got some kind of trauma In the wallet full of cards I dropped No messages (Still don't know what Ivermectin is.) Refuse to google such an awkward juncture. Sure, the junk worked— Sure the cops called After supper, On you go: The father's Carson. Uncle Parr is at the door. UNCLE JACK I'm back! DAD Sure, you are. [The Man resembles the late Jack Parr.] Here comes old wheats his name, The cousin, tagging alongside big brother A Jon with no H, the cousin— But I just can't call it [A strange looking boy resembling JON STEWART enters alongside his cousin, an even stranger looking whom resembles DAVID LETTERMAN— between the two of them, they are the oldest of the boys, about high school aged—dressed fashionably but odd and both dawning suspenders with their strange and quite ill fitting pants. This is weird. What is this—what is this? What is this here for! Why does this exist at all? What are you doing this for? Skipping suicide another night? Beats the knife in my back. —because, I just don't care anymore. L E G E N D S In an ‘imaginary‘ parallel dimension, the world is torn when the workforce—not just of one Union or another, but the workforce of the entire country goes on strike as a protest against high costs of living in demand of a living wage; a nightly entertainment program is interrupted with a news broadcast which declares a state of emergency—the economy itself on the verge of collapse. Oh. That's what I'm writing. You know, they're gonna kill me for this. —that's why you need therapy! Look, all I want to do is make dance music. Why bother. Why bother at all When big brother is watching, And long gone is Jack Parr, It's all done and divorced, But all sausage party, The festival project. Numb3rs Digital Liquid {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. The Complex Collective ©

KEENAN is the head of the league's research and development team. KEENAN WELL, Ya'll sho' chose the wrong girl to fuck wit! Why do you say that? KEENAN Well, i'mon just let ya'll figure that out on ya own. [KEENEN exits shaking his head solemnly, and begins singing ‘Amazing Grace' , first humming.] Hmmmmm—hmmm—how sweet the sound— Wait! Keenan! Who is this girl?! Who is she?! —hmmm—hmmm—hmmm—hmmmmmmmm LIKE MEEEEEEE! What are we up against Oh. you'll see. I woooonceeee was lost— Wait! SEEYA! [out of nowhere he has pulled out an old style stick bundle and throws it over his shoulder, continuing to hum while chewing on a long stick of straw.] —-hmmmm—-hmmmm. …where is he going!? (Meta) Seems like he's going somewhere with that thing hanging over his back! What are those things even called, anyway? Who knows? I think I know, but it might be racist. [suddenly, offstage/camera a bell begins to ring— One— Two— Three chimes.] That seems odd. Yes, very strange. [Suddenly, all the NBC pages at once upend their nests,] what the— Why are there so many of them. I don't know. Did their skirts get shorter? Hush. So many pages. MEANWHILR, unst 30 Rock. Hold on, pause. These weirdo cops have reverb on their whoop whoops. Facts. Are you sure this is still the 10th dimension. I'm positive. Really! You're sure! Couldn't possibly be lower. Maybe. What about higher. Higher!? Since when. WHAT'S YOUR NAME. Uh-FRANKLIN. Don't lie to me. How would you pronounce this name? I wouldn't. Hm. Excuse me. What. How would you say this? Like, out loud— Uh huh. Pass. Dammit! Hey—uh— RACHEL DRATCH What, dammit; what?! I just sat down with my bagel! I know but— I need your help— interpreting something? What is it? Gibberish? Not really, it's— I'm an expert in Gibberish— I know; but— Classical and neo-modern. Yeah, it's not that. What is it. Alien, I think. Which species. Species. WHICH— ugh— give me that! [she snatches the paper and produces a monocle for further inspection.] Since when did you get a monacle? since when changed insurance companies which supplies said ‘monocologists' and covers such expenses sans-coh-pay. You mean copay? Shut up. Hm. Looks to be Unrealian in orgim but I could be mistaking this dialect. What. Could also possibly be AAHHMEK. Ahmek? Ano, AAAAH— nevermind. Is this an actual apostrophe? Beg your pardon. The apostrophe— is it human derived, or the human pseudo translation replacement for a afahmblunsenphOuallentprprh? Say again. Is it an actual apostrophe, or is the mark mean to insinuate the commonly used extraterrestrial character afahmblunsenphOuallentprprh? …I don't know. WELL, then—I'm afraid I can't help you until you forgive that out— What. Depending on what the mark is, those could be two veerrrrry different things. Would you just, Now if you'll excuse me, I'd like to presume the consumption of my RAISINBagel. You know what. -_- -_- -_- …fine. [he snatches the paper and walks away angry—RATCHEL DRATCH begins to shmear her bagel, mumbling] —wants me to translate, but doesn't know the difference between an apostrophe, and a afahmblunsenphOuallentprprh. Please! {Enter The Multiverse} Unlike the girl next door, my lawsuit was legitimate. I strolled passed the usual subjects on my way back to the apartment from my begrudged outings; I had left with the intention of putting my money into a cheap record player, but had after all decided against it—I was saving for a new computer so that I could actually record vocals for my music, which would deplete my budget after living expenses for the month into nothing, and though I knew it would be something like next-to-nothing for the next little while anyway, it wouldn't matter. Now that I knew I was right, I continued compiling the evidence against these motorized terrorists—I didn't actually want to sue, but at this point it seemed it was my only choice— my lowly “status” should not mean that I was allowed to be tortured continually—and, unlike the girl next door, I was not seeking damages for something I had asked for, or brought onto myself; the horrendous sound in the apartment seemed as if it was aimed directly toward me with my synesthesia in mind, and with some amount of pride I refused outright to go the way I was expected to and file a disability claim. I wasn't disabled— I was, however, unable to preform my full work duties as a recording artist without being interrupted by motorcycles, project cars, and otherwise, all of which I suspected were operated by the same group of people— some ugly little brown lackeys who felt entitled in one way or another, and paraded around as if they owned the neighborhood. Benefiting from American business, but anti-American; the opposite of peaceful and respectful—not that America had made its name on the basis of respect, and so it seemed that something, out of balance and off kilter for hundreds of years iknretropect, was bound to change. They were rude, arrogant, and loud—bringing al of the 3rd-world mindset and none of the humility or charm of the actual 3rd world with them; as arrogant as one might think, a gross reflection of the toxic masculine as a whole. They might not have been ugly at all if they were respectful or decent—but they ran about acting like terrorists, revving their engines, and banging, and clashing, and being ugly—employing young boys to stand on the corner and sell their off market drugs after having one of their smoke shops closed down. The more time I spent outside dealing with people at all, the more ill I felt. I craved more time offline and off the grid, and though the general disenchantment of New York would continue pouring through the cheaply made windows, I realized that I would be more well-to-do with a typewriter (so that I could continue to write for long periods of time offline and without my phone) and a record player (to drown out the noise and play along to on my drum machine, and still— there were more things to do, always drowning in bills and often wondering how long I'd have to forfeight health in exchange for the decency of what some might cal luxury, but others foundational. As for myself, these things, simple staples to health and wellness, were beginning to be foundational. {Enter The Multiverse} “As Seen on TV” She doesn't even have a name My pussy is cleaner than a motherfucker This ain't no community like Donald Glover Ya'll niggas actin childish, Gambino— If you wanna turn it on, Then send a c-note (I'm in south side) What she want Peloton What she on peloton What she got peloton What she on Peloton I FOUND KIT! I found KIT. Great, now did you burn that letter? What. Burn it. [does] Oh, that is such a relief. Jesus. Okay. This shit does get weird and deep. —so that's why we're going offline… You wouldn't believe this, I found the kid swinging from a tree. Ridiculous. And if you tie it like this— Ah. Look, it won't slip. So…this is your hobby, huh. One of many. They don't call you the Ace for nothin, do they. (Innocently, with curiosity) “Of Granduer” —Do they? The sound of a chandelier sparkles as the giant lamp swings back and forth, as if an earthquake has just happened. You wouldn't believe this. What. On the television. Okay, so I found this “Kit” guy— Twice. Twice you asked, and twice I told you. Well, I didn't think to look directly at Johnny Carson, exactly. But here— And this: You actually were. Tell me again what your name is. Just sign me an autograph: What. Me? Sure, why not? I want your autograph! Do people still ask for autographs? Often enough. Remarkably, even, at airports, and of course, unexpectedly at— GODDAMMIT, we're back at the rock! GODDAMMIT. Well. Well what! Somebody check what year it is. FUCK. [super long censored beep.] [The Festival Project ™] It was the first time since my childhood I felt like something was too long away—but finally, I was in the final stretch. The Peloton would be delivered sometime in the morning, and now that my internet had shut itself off— I'd refused to pay the bill and opted for getting a new computer so that I could record, rather it— Give me a second, I'm fucking obsessed with these curtains. Bro but second to the curtains is the fucking grass. No, its—tuft. Turf, huh? Interesting… I told you she was some sort of a spy. Whatever. I had long considered turning my living room into a media center, and had thought to reinvent my entire space in fungshuei, but now more than anything I just wanted it to look like that. {Enter The Multiverse} Something is wrong with her . She sits by her door ALL DAY and just fucking talks. And I know she's by her door Because she's RIGHT AT THE DOOR I hear this crystal clear Anytime I go near my door And she's like BLAHBLAHBLAHBLAHBLAH BITCH GET THE FUCK AWAY FROM THE DOOR somewhere in a parallel of time Your ancestors Are beating the hell Out of my ancestors And your other ancestors Are stealing my other ancestors land You're on borrowed time And in borrowed space GET THE FUCK AWAY FROM THE DOOR. Man, Living sandwhiched between two Karen's Is like the equivalent Of having two demon fucking little sisters That hate you And tell on your for everything. Slamming doors and shit just to fuckin Throwing shit around Bitch. You are crazy. And that's the thing about white girls Their crazy is socially acceptable As normal behavior I guess when you just have the best things in life thrown at you forever— When things the rest of us consider luxury and opulence is just “regular” to you, You get a little set in your ways. My neighbor is infuriating. I'm like WHY ARE YOU ALWAYS BY THE DOOR SHES LIKE SNARFSNRFSNARF I'm like goddamn, Somebody send like a Camden or a fuckin “Chase” Over this way. Somebody take this bitch on a date And away from the door. Whole two bedroom apartment This bitch is glued to her door. She a robot. The door is metal. She just enters the apartment and gets glued stuck to the door “I guess I will have to snarf snarf from here. “She's a smart one” I don't believe in smart white girls. There's regular white girls And fucking serial killers. The serial killers are considered “the smart ones” I guess it does take a considerable amount of intelligence to just exist to catch bodies That's what they call the smart ones The ones who level up by just Mowing everyone else down. Gotta give them that. White girls will ruin your whole life Blink two little blue-green eyes twice— And if they're big and round enough The brown eyed white girls can get away with the shit, too— But they're fucking murderers. It's okay. I lived with white people long enough in my life to love them. But in living with and around them— I notice they all say the same thing which indicates to me that racial injustice might not actually be their fault— They might be killing niggas on accident. Just complete accidents White people say shit like “I can't feel” What. “How does it feel—to feel.” WHAT?! “Explain to me the concept of ‘emotions'” Ah hell nah— And these people have all the disposable income? It's not their fault. They just— are like that. They're wired different. They can't feel, And their first instinct is to kill everything different or perceivably deadly. It's not their fault It's intrinsically They have extremely fragile genes Very weak gene pools. Have you ever noticed how white people are always sick? Always?! Weak gene pools. Years of breeding narcisistically. Traits that are reminders of themselves, or people they grew up around. This is not racism, it's just science. “Oh, I love blue eyes because my grandmother has blue eyes” White men commonly marry women who remind them of their mothers and sisters. If that's not fucked up, I don't know what is. Then I realized that incest porn and teeny porn are amongst the highest watched types of porn. Hmm. Gee. I wonder why. Men are gross. But white moms need to start being more like black and Hispanic moms if they want to ensure the continuance of their genetics into evolution. You need to give your kids some mommy issues. That way, when they grow up, they feel the need to add variation to the gene pool in order to strengthen it, and move towards evolution. It's true. I lived with maybe the whitest man I ever knew for almost 6 months; I don't think he was specifically intentionally trying to kill me— But everything he did— And I mean everything, up to a certain point was like …I don't know, man. It really seems like this dude is trying to like exterminate me in some sort of way. It was bad. The energy was weird. He was like dirty, Fucking lazy, He was a lot. I was like, “Damn what the fuck it's like the longer I stay around the worse it is” But the weirdest part, was that he didn't seem to be aware that he was doing it Either that or he was a really good actor… “What do you mean?” Had me confused. But that's the thing about the whites. They do the whole thing with mind games They fuck with your mind. It's the most powerful weapon, actually— Because if you continually attack a person's mind, The rest crumbles around them without you even touching them. I'm sure this is what my neighbor is trying to do. It's a mind thing I get near the door, she just hurries up and opens her door, opens the door real wide, big apartment, everything's white, big ass fucking place But she's always by the door; Mind games. —Tales of a Superstar DJ. I wasn't really interesting in meeting someone seriously— in fact. As it turned out, I still had a little more muse to milk out of the last one, but even the tarot was being a stickler— I could risk ending it all and putting a nail in the coffin by actually watching The Tonight Show—but there would be a possibility it all would backfire and it would just reignite that spark, or worse—I'd become fully engulfed in flames by whatever it was that seemed to appear—and it seemed to appear so vividly and with rapid strength that it couldn't be stopped or controlled. A serious amount of money had to have been implemented to my paying attention to this, and beyond that— it all had to have been carefully premeditated. While at least now at the bookshop I was drawn to books from Oprah's book club, what had occurred couldn't possibly be ignored—actually, it couldn't be, at all— but instead of eating at me in its usual way, I had more just began to realize that there must have been in play some purpose. Feeling faraway from my actual creative self, there seemed to be something missing at all generating even a general sense of understanding of what normalcy was— when had actually been the last time I had been touched at all in a way that might make me feel as if I was still human— as if I was normal— but I knew I wasn't. It's time for a change. The thought of being with someone, especially just anyone, was bizzare. I gave up on love a lot of times; But this is when it became official. I was listening to a rap album I had never heard before And in this rap song, he said “This hoe got a 7 year degree and still selling pussy” What in the fuck. One way one way ticket Why bother getting a 7 year degree If your value as a black woman Is so low You can get a 7 year degree And still have to be a prostitute? What the fuck is the point. It goes the other way, too. What is the point of selling pussy without a 7 year degree!? She's gonna make more than me in ALL the professions. I gave up on love at all. That right there is how low value we are, not just to the black man, but any man. 7 year degree and you can charge more an hour, but you're still a technical hoe. I want to fucking die. When I married my ex I was pregnant with twins; When i got pregnant with the twins I was about 350 pounds. So by the time we got married, I was 6 months pregnant with twins. He had a right to cheat! I forgave him. But the first time he hit me Like really hit me Not just like A heavy shoving or ike A lil— You know Choke out– Like the real deal Like knocked me the fuck Almost all the way out Saw the white light and everything By the time that all went down I'm like 170-180 He's still, mind you, like 300 I lost weight He lost his mind; so i'm— — lets round up— Like 180 pounds But in my mind i must be thinking somewhere i'm still 300 He came at me with a running start, I put my hands up like: I must have thought i actually had a chance I took a fighting stance like: He said Fphew! PULL A RABBIT OUT A HAT damn . what year is this really? You just got sampled . Say, what's his job? Well, that's an informer. Chris Rock forsure some kind of genius I saw him do GIlbert Godfried And Sam Kinison In the same show. The show was dated, though; He literally said, “I'm married: I don't cheat.” I knew it must have been a joke. I knew it had to be a joke, or it had to be dated, Cause being real, I listen to too much kanye To even believe that Or even laugh at that: Not “too much” kanye— 'Just enough' Kanye, He said, “If I pull up with Kerri washington, That's gon' be an enormous scandal” I might have Niomi Campbell, Still might want me a stormy daniels And ya'll tried to get trumps supporters to turn against him By exposing that he fucked this bitch? That's like an achivement. That's like a status symbol. I'm sure these idiots praise him for that. He might have even gotten more popular! That's not a scandal That's PR. On that note, I think Chris Rock was the very guy Who made me decide to stay single forever: He talked about the way, apparently, men want to kill their wives; The way they fantasise killing us When we're in the relationship: Now, ill say— I never once thought about killing my ex husband During the relationship Even after he hit me. Never once. The only time i started wishing a karmic death upon this person was when I left the relationship And he stopped fantasizing about it And actually tried to fucking kill me. Once I realized this was happening Only then did I start to think “Oh damn, i hope that motherfucker just drops the fuck dead.” This motherfucker beat me, AND tried to kill me, Only then was i like, damn “Return to sender” I hope you die too, You fat piece of shit wifebeater motherfucker I hope you die too. Only after he tried to kill me. After I left. Had to hire a fucking voodoo fucking sorceress and shit “yo , take this curse off me, This motherfucker tried to kill me” Fuck that motherfucker. Apparently though they fantasisze it all the time, I'm thinking about all the times he would play this song iroinically enough, By kanye west So maybe too much Kanye West Or just enough, Kanye said “I thought about killing you today.” He used to play this song, And beat my ass, And I never once thought “I hope he dies” Shit, After the first time he really beat my ass, He ran away. He got scared; He had to run. My face was all hanging off my head and shit Blood all over the place My lip is disconnected from my whole jaw and shit He ran away; He darted out the front door He said “I'm gonna kill myself!” And he rain away– Even then even just after he beat my ass I never thought about killing him Or wanting him to die He just fresh beat my ass; He just straight up finished whooping my whole ass and he said “I'm gonna kill myself” He realized what he did “I'm gonna kill myself”, he said And he ran out the door And here I am With my lip hanging off my whole face Blood all on the walls Pool of blood on the floor, the whole thing babies crying; The whole The whole fucking HBO special The whole nine yards And he said “I'm gonna kill myself” And my dumb ass said “NO! Don't!” He ran out the door, I'm freaking out Blood everywhere Babies crying and shit “Come back! Think about the kids! Don't kill yourself” Like a dumbass. Turns out that was just a tactic, He broke me down good, I was like “Don't kill yourself” He said “...you gonna call the cops.” He said “...alright, I won't kill myself.” Boom. That's a real killer. Looking back on all this, I can't help but think to myself, What i would have done differently Not the whole “I should have left before any of that happened” I was the mother of two young children; I wanted to try after the cheating to make things work, Fast forward after that Turns out he was fantasizing about killing me the whole time He beat mya ass, ran away, Left me in a pool of blood with my two kids He said I'm gonna kill myself Looking back at that momet, The thing I wish I could change is this If i had to do it over again And he beat me like that In front of my kids And then said “I'm gonna kill myself” I would have said “do that shit.” Lock the door behind his ass, Change the lock, Pick my face up off the floor, call an ambulance And the polce, change names Pick up my life And leave forever. “Nigga–who?” “Momma who was our daddy? What was he like?” “Ya'll ain't got a daddy. I made ya'll myself” End of story. Whatever. Everything happens for a reason though. I learned my lesson. Now i don't argue with anyone at all Men, women–nobody If i even sense that same shit That psycho killer shit– I become as silent and invisible as possible And simply Disappear. “Disappear.” I had a migraine and I knew it was from pressure buildup and stress, so I thought to get rid of it I ought to make one of those hot-compresses with rice. But the only rice I had was jambalaya flavored— But the headache was obviously really bad, So I was like, “fuck it.” Poured it into a gym sock And popped it in the microwave, Put it on my neck— My neck smelled like a pot roast, But it worked. {Enter The Multiverse} There was something in my lungs, forcing me to breathe deeply, with a raspy wheezing wind out of my lungs, and with a steady cough, I was able to offload whatever it was waiting in my chest to be released, along with it, at least part of the pressure that was making even just sitting and reading nearly unbearable, collecting into a harsh migraine paralyzing each and every other breath with a sharp pain underneath the back of what seemed to be somewhere below my ear canal and somehow, a pressure somewhere behind my eye, probably a result of the excruciating process of shoving earplugs into my ears in order to drown out the outside noise, which paired with that of my seemingly devoid neighbors, often became wildly unsettling, and while lately the clamoring had created not only an uneasy tremor in my left hand, but also apparently a sudden onset of occasional vruxism, the anxiety overall seemed to be surmounting into what could only be described as something trying to kill me, for which I could no longer ignore not as delusions or paranoia, but absolute fact. As I had learned, modern psychology might have been the equivalent of what one could even be certain to be the devil itself, unable to distinguish patterns often associated with creative genius, self manifestation, and psychic abilities and intuition, as delusions of grandeur, paranoid thinking, or worse— diagnoses as psychotic. However, my grandiosity was neither imagined nor delusional—my podcast series alone had been read and listened to all over the world, translated into foreign languages and transcribed, and had been downloaded hundreds of thousands of times since its publishing; though not a technically recognizable figure, I had realized that I had in my own right become somewhat famous, if even off of the back or even under the umbrella of another famous individual, to whom the series itself had been entrusted. Receiving though not by mainstream media standards upwards of at least 10 downloads per episode, the series had no actual gauge or marker for its actual success and polularity—without being able to see information from a major streaming platform—Spotify, and without being able to measure the amount of downloads which had then been duplicated and shared otherwise, I started to recognize with a certain understanding what a cult following was, and the minimal phenomenon that even at this level, fame started to become apparent. It had also become apparent that science itself had yet to truly understand the phenomenon of creative energy as a whole, and that many with these capabilities and gifts were considered to have a plethora of mental health disorders and medicated with what one would consider targeted attacks on the psyche, the illusion of mental illness often standing as the actual delusion in itself! Creating, and then medicating these intrinsic abilities ass illnesses whereby the “neurotypical” individual might only be considered as such due to ability to adapt, confirm, or follow diections in a systematic manner, and furthermore, that the misdiagnoses of such misunderstoodconditions often even relied on bias, poor judgement, racism, social class, and economics had certainly deconstructed any faith or belief formerly held in the modern state of psychology, and most of the articles or public medical journals read more like science fiction and fantasy rather than cold hard facts; indicating a moral and ethical flaw within the entirety of the human species—man's own inability to understand God, and therefore himself, in any creative process. Diety and creativity combined were simply a mystery, and had plagued entire generations of the human spieces as a whole. Blū runs at top speed through the streets of Brooklyn New York on a cold and windy October night. V.O. The ironic thing is, I'm running to go get ice cream. I hate my life, I hate this place, I hate my life— I fucking hate this shit. I'm trying really hard not to kill myself. Like really, really hard. Sudden onset bruxism and hand tremors and I can't help but wonder if it has anything to do with the constant mottoeycle traffic or sleeping in a sea of vehicles which at any given moment could sound off, start up or honk the horn alarm over the last 9 months. I'm fucking exhausted all the time and everything around me just fucking draining. Just fucking draining. https://www.tracklib.com/pricing Yo, you know how I know I'm aging? I hated Dora The Explora when I was a kid— You know why? “That's for babies!” I was too old for Dora the explorer. Mi was a tv snob. I'm like “I hate Dora!” No teletubbies for me. No sir. I'm distinguished now. But get this, As I get older, different renditions of Dora Have grown on me To the point where I actually like the bitch I got older, And there was this girl, Who would show up at raves Dressed like Dora And shuffle, And dance around— Looking like Dora The Explorer Kind of creepy, now that I think about it As an actual adult, Like this, Fully grown woman, Dressed as a fucking 5 year old Dancing around at raves Being Dora. Weird. But I liked it. I loved it. She was a hit; Everybody was like “RAVE DORA! RAVE DORA!” She blew up on Instagram, She had a following— It was like Where will she be next?! RAVE DORA! Had the backpack and everything— Everything! Rave Dora! But now I know I'm getting old, Because I'm fuckin around online, And I see in the advertising little sidebar video Like, a new version of Dora The Explorer, And I'm like “DORAAAAAAAA!!!” —the fuck! I just realized my best friend from 3rd and 7th grade looked just like Dora the explorer. Facts. She became literally the most successful stripper I've ever met. Ahem. Dancer. Right. Dancer. Ahem. Dudes are gross. Doods r gross. Welcome to Doods R Gross; What can I help you find today? Uh, hi. I'm looking for a guy— Uh huh— Possibly one who looks like this: Ah shit, this is how I got playing the Wikipedia game and went on a tirade Facts. Ended up here Unicameralism (from uni- "one" + Latin camera "chamber") is a type of legislatureconsisting of one house or assembly that legislates and votes as one.[1] Unicameralism has become an increasingly common type of legislature, making up nearly 60% of all national legislatures[2] and an even greater share of subnational legislatures. Interesting Started Here: The Fallen Angel (French: L'Ange déchu) is a painting by French artist Alexandre Cabanel. You were saying? Preferably this. Ah huh. Not the face, but— the body— you know. Like this. Okay. Who will let me do everything. Everything as in? Everything. Well, as you know, dudes are gross… Hence the name of this store, good sir. I am in no way good, nor am I a “sir”, and for all intensive purposes, my employment at this store signals my deep indirection in life and may also be an indication of more serious issues. Maintained. Alright, so I'll show you what we got. No promises; The type of model you want is popular, Might be out of stock. Considerable. What's your price range? This credit card has no limit. Credit, or debit? My debit card is also linked to a plethora of infinite wealth. Right this way. Do you think I deserved for him to hit me like that? I don't know. Maybe. I mean—the cheating is a given; I was really really fat..:but do you think like, him getting violent was some kind of karma for something? Maybe. Like maybe I had it coming for whatever reason— and just didn't know it. Maybe. Suddenly I was in the residual memory of a dream. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. ©

Oh no, he's Skrillex. [Skrirrex] run awaaaayyyyyyyy! {Entet The Multiverse} Well, that was fun. Here's the deal, we're gonna give you a whole new look— a whole new Waaahh. Everything. I've been in new york two years and still haven't been to the brooklyn bridge ‘cause I don't want to fight the sudden urge to impulsively throw myself off of it. Notes: My first sketch: buffering. But I don't know how to pull off that little round thing in sketch form. I'm sure it can be done…somehow. Why are we writing sketches? Just trying something… different Two Pilot Scripts peloton arrival My general obsession with these curtains I am obsessed with these curtains George Carlin's magnificent body lol now when they slam the door there's a comforter under it so the mad stays outside. Dumb fucks. Whatever I lose respect at home wrecker. She seemed nice tho. That's how they operate. Man this judge gon forreal give this lil white girl 3 million dollars for doing some only fans shit for her boss— for free. I'm sorry ya'll, white folks really are lazy. They went and invented work from home, but you ever realize that was really only for the white people— all the white peoples have cushy stay at home jobs where all they do is zoom all day and they got all the ugly brown motherfuckers out here on mopeds delivering groceries and shit? You ever notice that? Please. You had better hope the judge in this case is not me, if you actually want to win this motherfucker. I would look at this case and go “Married man.. uh huh…two kids… uh huh— you thought you were in love—huh. Gave you a promotion. Uh huh. Screenshots. I see— and then you did what for him on a zoom call? Oh no, honey, huh uh. Case dismissed. You did wrong. You went and prayed on a married man, child! You know they are weak! You know this! How does that make the company owe you $3 million? HOW IS IT THE COMPANY'S FAULT THAT YOURE A HOE!? Huh uh. Take your dirty tennis shoe lazy instacarttttttt orderin ass eating-out-every-night BACK TO WORK!! And GET AWAY FROM THE DOOR. Slam that shit one more time, hoe! She's taking this homewrecker thing too seriously. When I said “you're a homewrecker” I didn't mean “Slam the door until It falls off”, I more meant How does being a hoe deserve you $3 million?! IT DONT. That's some shit! Can't trust these niggas— But you fo sho can't trust these hoes. I'm just sayin. We get the whole negro spiritual? The whooooole negro spiritual. Cause all this #metoo bullshit . You know any white judge in they white mind is gonna be all “This poor little victim.” Whatever! She ferocious! Got a snake and everything! Can't trust noooooobody. Nobody. NOBODY. My lawsuit legitimate. I got motorcycles all up and down the block all day and all night to the point where I'm starting to be just as ugly on the inside, as these motorcycle motherfuckers are on the outside— I got a twitch now— Pisses me off. I developed a tremor. It was just mind games at first, but now my body in jeopardy!? Kill yo self. Karma gon whoop yo ass now it's icy and shit. SSSSSTTTTH, That's the back of a truck on yo' engine revving weak dick ass. ——sssssssss—CUH. Outta here. Fucktards. And you know what!? I'm black. I'mma go to the judge with all these recordings And all these reports, And all these statements— And he's gonna look me up and down and go— “You know a lot of people would be lucky to have what you have.” That's what they say. That this bullshit is a stroke of “luck”. And it is. When it's quiet. But for the time being— When there's no motorcycles, There's a homewrecking Snake wrangling; Door slamming hoe next door— And she wants to be FRIENDS. So you know what: I'm a be her friend. For as long as I'm single. I fuck around and get a man? I'm ghost. I'm gone. Whatever. She finna get $3milliomnf For being a slimy old Snake ass Manipulative Husband stealing Hoe And move on up. Just as a reminder to us all That all you have to do to get away with murder Is be a little white girl. You take the high road, And I'll take the low road And I'll be a gettin there before yeeeeee. Ok. So the Irish weren't playing— The song literally say: You take the high road (The moral high ground) And I'll take the low road (The hoe road) Oh shit. I gotta keep reading this shit . I couldn't have made it up better myself. ANOTHER MAGICIAN! I told you magic had something to do with it. Oh, it's— Probably nothing; You know you don't like it When cold hard dependence Just knocks on your door When you're standing butt naked The front door was opened, You've been quite lethargic, And after all the trauma The Cold War is over It's dark, damp and crowded A laugh, not a gesture, A swallow, not a falcon A sparrow, not a letter A mistress?! Oh pardon, sire. A partridge, a harpist— A hard alcoholic, And no one knows what comes after. Ya are honest or what? What's up, faggots? I'm at church, for Christ sakes! It's my day off, and God Almighty and I are in a High stakes game, alright, Keep driving me crazy, keep driving the crime rate up, and in time you'll be behind bars, And out of my way. The Red Dawn has come upon And now the west has won, sequestered every equestrian Shit I lost it Just wait for it. Damn this blondie is awesome. Embezzeled every pedestrian? That might work… —that resembles It's so nice to meet you. I'll shoot you. What. Don't touch me, I'll shoot you. With what. Silver pistol, jacket pocket. Wow. It's nice to meet you, too. How did you get that in here? I walked in. Through security? I didn't go through security. The worst part about living in New York City, Is all the smartest people are concentrated— To the rich areas. The outskirts is just a bunch of dumb motherfuckers banging on shit, and in their small world, they're important. In their small world, they run shit. That's when I realized that in order to maintain a world where I'm important— And I run shit, I have to stay away, and above these dumb motherfuckers. I— —Ahem—whatever. It's time for some SMUT VEE.. That's a good nickname. Maaaan. How long's it gonna take me to write this show? Maybe forever. {Enter The Multiverse} Lil bitz Have you ever started watching a video and thought, “I don't know if I can watch this” Because of the narrator's voice? By the way, If you can listen to those tik tok videos with robot AI captions, you should get yourself checked for a micro chip. You might be a robot. Anyway, Have you ever decided, Like, three seconds into the video that the dude's voice is just—so shitty that it might make the video shitty? No? Just me? {Enter The Multiverse} I nearly cleaned out the little free library after discovering that on the top shelf there were a slew of cookbooks, and more additions to the bottom. I hadn't been out in three days, but it seemed there was still some high level effort to theorize on how to go about siphoning my personal energy from inside of the apartment— I was still being followed. As I cleared the little library, dividing the take between my three bags, a blur of an ingrate human being passed from my right, explicitly and with purpose letting out a loud and obnoxious open-mouth cough— immediately, I coughed back, knowing that in time, the things I had been subjected to by these people would come back at them with roaring force—why not help along that karmic justice by paying it forward now, besides of course, the fact that I had for two more days been silent. ‘Disgusting fucking creatures.' And just with that, the opened-mouth coughing of a low-level gangstalker, I was proud that I had considered my purchase both urgent and imminent; there was no certain way to go about shutting myself away from the world besides doing it, and now with winter's chill gripping at the nose and fingertips, a cold wind whipping about and ice afoot, all the more reason to step aside and inside to resume creation—and the less time I spent on the street level with the roach and rat like people — much too far from the glittering and glamour filled luxe of Manhattan to be refined, well behaved, or mild mannered, they much emulated a lesser species by their habits and limitations. it was a frequency I strayed far away from, however— I had made it easy for them to stalk me on this particular morning, while although leaving for groceries at close to five or something of the like, and still being followed even then by the strange and shadowy type that at least stayed silent and kept great enough distance that it didn't bother too much, (besides the knowing that it never seemed seemed what time it actually was), that if I left my apartment at all, I would be followed; But, I had doubled back for the books after just by habit, though with a heavy load of groceries—baking goods and other heavy things I normally didn't buy, plus breakfast foods for the long haul, a self-initiated lockdown— and I knew that the later into the day it got, the more ‘sims' (a term I had deemed the robotic gangstalkers sent about remote controlled by their devices, whether they were doing it with intention or by force, or not.) They seemed at the disposal of the controllers, and while some of the sims were just weird, robotic drone-like people, many of them seemed dangerous—their frequencies almost creating such a friction that it seemed a disease to be in their presence. It had become clear that though docile and complacent, human beings had become weaponized by force, and the only thing keeping a revolution from emerging or a civil war from breaking out, was the intense divisiveness amongst people. People chose to remain as slaves, in utter complacency. I was skinnyish from running and awaiting the arrival of my Peloton, however. There was still 24 hours between now and then, the arrival of the beast and though I had spent the day before completely off grid, instead enjoying my now small library—though needing to be properly re-sorted, as collecting more literature had made a mess of things, (and though I had picked up a toy Hello Kitty Ukulele as wall decoration), I still somewhat refused to buy rugs or other practical decor or furniture, such as bookcases or even a bed. I was being stalked, followed and regularly tortured by sound and vibration interference— frequencies aimed directly into my abode, especially at times when I had wanted to rest, and though I could have avoided entirely at least some of these awful people by just leaving a little earlier, I then would have missed the all-too-beautiful reddened hues of the east coast sunrise; I had actually never seen such a ruby red light cast upon the Brooklyn brownstones, and although the people were sometimes ugly (the open-mouthed coughing ingrates, that is), the red and gold sunlight over the fallen leaves and east coast architecture almost made it worth it—and with any reckoning, my coughing back at the nasty little monster was a telltale sign that eventually, I'd either start beating the shit out of people when they coughed at me in public — or — I'd eventually craft a world without them in it by staking away from them, and taking long breaks from practicing behaviors and habits they exhibited. I no longer wanted to fit in, or become popular, or accepted, as I had finally realized that it was just as it always was, back in school: the popular people, even in music, “art”, and what was supposed to be “culture” weren't very bright—they were just brighter than enough of the people around them to get ahead by just enough whether by looks, money, or sometimes but rarely now, even, superior talent. They had been elected as representatives of the masses—the common man, the not-too-smart; the easily manipulated, and the docile. The superficial next generation was programmed to be limited to what had already happened; a stalemate in ingenuity, high art, and evolutionary consciousness in culture had been reached, as observed by dealings with the public world, as I studied their listening habits, social normalcies, and collective behaviors. The less time spent interacting with these ‘sims' and drones, the more in-depth my thoughts began to flourish—seeing in full color spectrums and patterns, acting and thinking in ways I was blessed to be abnormal in. I was no longer complacent in a world full of material greed and commercial competition, no longer feigning for mere objects that simply with decent credit anyone could go well into debt for—and most did. Instead, I would wear my same recycled clothes, keep to myself and my business, and craft from within some kind of masterpiece the world itself could no better inspire than I on my own. I was now the proud owner of a small library—and into my list of small but sacred prized possessions, two pilot television scripts from the era before which Television had deteriorated, in the onslaught of streaming culture; these two pilot scripts, neatly bracketed and crammed in between classic novels and cookbooks, were my happiest find since the treadmill, and of course— the Omega Juicer I still wasn't sure would ever work, but at least, watching the 11-year-old instruction video had given me a proper laugh, and besides not having the patience to further explore whether I had put it together incorrectly, or if it simply no longer operated, it was a device worth further considering spending time in order to try to make it work, before spending something awful on a machine of equal or lesser value. The treadmill had worked right away, and I was now clocking in segmented runs of about 4 miles a day— working my way up to seven, with the actual notion and belief that it was those Madonna-length runs which had manifested this apartment, and, that with the Peloton and those runs combined perhaps, if I were to stay in New York, an apartment in one of those tall shiny buildings in Manhattan would manifest itself—only second, of course, to a house in the Hollywood Hills. As for America, there was nowhere else I could I should be, I thought, and something strange had happened without my noticing—without any promotion whatsoever, I had garnered an unusually high amount of streams on I Love New York— surprisingly, with global response. I had gained followers and listeners in London, Germany, and Spain— top countries for dance music, and as I studied my metrics, I realized that the type of music I found easiest to make was performing the best; House and Techno snobs never changing, I had found a niché, and, another interesting point I had gathered was to find the Uptown A, without any promotion or live performance, was gaining traction and followers. Though minimal, without any effort, the numbers climbed all on their own. I found it astonishing that with no promotion at all, somehow, the album had circulated. Now I wished I had the focus and prayed for a way to finish the short film, or, collection or videos with a vague storyline which connected them together—however anyone wanted to see it, if they ever would. I was still largely out of storage space, and the phenomenon that the psychological terror attacks seemed to happen most frequently while online and even connected to my own private network, the more time I spent online the more time I spent under the blankets of honking horns, ravaged by motorcycles and modified engines, though—I found none of these people to be impressive or very powerful; their being counterproductive only alluded to the simple fact that it had become clear more people were born or made through neglect of some sort to be more useless than not— and so in effect, had to make use of themselves in other ways. I was almost trying to forge an alliance with the neighbor, but there was still some deepseated mistrust that probably had less to do with her race than her gender acclimations. I attempted not to judge, but it tormented me that anyone could knowingly sleep with a married man in exchange for a job and then expect 3 million for it was beyond me. Her unexpected visits and eagerness to see inside of my apartment was a discomfort, but to discover the likelihood of her induction to the wealthy— a millionaire status— angered me, but I was sure it was meant to, in that she herself was either some sort of plant, or a gangstalker who had been sent to gaslight in some sort of way— procuring information in one way or another or simply to plant seeds in my mind that hadn't needed to be there. It seemed she was in need of something—information, and that her motivations went beyond curiosity, however misjudged I might have been. Her actions seemed provocative and invasive, and however—the restlessness was already out of hand. I did my best to keep the peace, knowing all too well that a privalaged person made upset could be damaging and destructive. I had lived long enough to understand that, in fact, a cute little white girl could get her way with just about anything, using their ideal status and high regard as a tool of manipulation. I had no doubt that she would probably get her way— millions of dollars for doing nothing and being offended by it/- or even further, that it was all just an elaborate story crafted to further crank my brain, in addition to the motorcycles, the door slamming, and of course being followed to the gyms here-and-there and having had the entire year of living here being a nearly intolerably, noise filled nightmare. She had, after all, gone through wild and extraneous efforts to forage her way into being friends or something of the like, and, in my final attempt at being human, I thought to at the very least try to understand the idea of friendship, though probably having become forever unable to actually attain it. Friendship required trust, and, after hearing about her lawsuit, apparently for having had an extramarital affair with her married boss, with whom she “believed” was “in love with her”, it was perhaps the initial feeling of discomfort which had foundationally placed this person in the danger zone—that there was ‘just something' I couldn't trust about her—and I wondered as a future business owner how it might be the company's fault for her obvious moral defects. Further solidifying every reason to never pursue a married man, I pondered this; that in the modern practice of validating feminine toxicity and masquerading it as ‘justice' or ‘feminism' only further keeps women away as a whole from obtaining equality— on the moral high ground that one should not sleep with her boss, or should immediately report threatening behavior rather than to allow it in exchange for professional promotion, it only seems that the tactic of manipulation has to at some point come into play when indeed, over a period of time, one has gathered enough evidence to factor in a judgement that the company should compensate them. One should not be simply compensated for their willingness to display affection and exchanges of intimacy in a work environment if not reported at first concern; I was old enough to know better, so I figured certainly anyone given a few years in either direction should have a clear understanding of such. I had dealt numerouy with narcissists and manipulators all of my life, and it almost seemed an immediate red flag that she seemed to want so much to be friends, especially after having audibly reported me for various discrepancies—besides the obsurdity that she had decisively slammed doors as a means of getting attention. Perhaps it was some sort of sponsorship of sorts, indeed that she was a gangstalker herself and was being incentivized to act in such ways. For weeks, we had fallen into the habit of overendowment by way of gift exchange. Still, these were blurred lines; and I thought it best to be ‘friends' with a dangerous person rather than actual enemies. Keep your friends close, and your enemies closer, and of course—keep it light, and simple, and on the surface. She might have known my line of work, but nothing else, and it seemed that I might actually have the advantage here— besides her being Caucasian, obviously of privelege and wealth and my being multiracial. I knew more about her than she did about me, and, under the suspicion alone that she was a plant, and with the confirmation of my theory that she had also been burning sage, (now having done so admittedly knowing that the other neighbors would suspect and report me), and the apparent falling out with the other neighbors over something I had neither asked, nor was interested about— perhaps the simple fact was, I distrusted her immediately just with the intrinsic sense that she was untrustworthy; the type of woman who would knowingly sleep with a married man, and worse— with the intention of monetary gain in mind. The type of woman you don't want around your husband, period. In that way, perhaps it was simply that I was traumatized, once having been severely cheated on and lied to by a serial cheater and later wifebeater, that it was impossible to not see myself as ‘the wife'. Though now happily divorced and not quite straying from single, though planning to somehow be married again even if it was in the style of Elizabeth Taylor or, Richard Pryor—or even Marilyn Monroe, just repeating the process in insanity, I realized, however impractically, that I enjoyed being married, and monogamous—and even if this did make me a simple and easy target for infidelity, I had learned something very simple and wholesome about myself; I was a good woman. And I enjoyed that. —Tales of a Superstar DJ. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. ©

The book was fictional, but a perfect reflection of the treatment I had received since arriving to New York City; nothing was free, and it was almost as if the incessant hazing, entrapment, harassment, and terrorism had been at the cost of my own clarity— no longer could I trust another human being, ever. if these fictional ballerinas could do such horrible things to one another, what could their equally as devious adult counterparts do in order to disarm a potential threat—and if this was the simple and evil way women dealt with one another on a competitive level, how much potentially deadlier could make adults be in targeting potential peers, especially of opposite genders, and particularly—of thr opposite race. I wished race had no impact on anything, but in the United States, as the underlying cause of all conflict, it actually seemed to be at the root of everything. Next was money, and it would be ignorant to say that the two hadn't become so drastically intermingled with each other, the least of it belonging to colored people, and the most of it belonging to the dominant source of global power, the whites. Still, the way that people seemed to move was almost a color coded system in itself, and it seemed as though the pawns most often moved around the map in certain ways were almost always one thing or another, and now, understanding the way that politics were more likely than not conducted in this same way— I had collected, by studying the personal-professional lives of fictional adolecent ballerinas, I kept my head down, and my nose out of it—with no intention at anything besides getting out of New York alive, and put together—knowing that the possibility of my making any real money at all might have been some sort of threat itself, to any opposing party. The whites, as it seemed, would only ever be comfortable in a world where they had more, and better—at all times, and always. Nothing any colored person could ever come close to what they had maintained as their own world; everything was a system kept intricately in place—movement outside of this grid of power was not only forbidden, but nearly impossible. Especially on the grid and especially above ground, which almost everything was. Death of A Superstar DJ. [Hanz brings Gretl into his lair, where he co ducts his experimentation in creating “Ze Deepest Bass” Zis makes ze vierd sounds, yes. Yas, Very vweaird. [He presses a button which activates the system to begin playing the severely awkward sound of a Dillon Francis bass drop; embarrassed, he immediately switches the power completely ‘off'.] Zis is stupid. I'm sorry. Vwat vwere you sthinking? I wvasn't. An entire laboratory of sythezizers, and you've wasted it on this abominable— {Enter The Multiverse} The terror tactics began to become next level; though certain sounds were inaduible by my phone recording, they could still be heard and sensed by vibration within my body; an engine had started and had yet to stop, positioned behind me—and though I knew already that the terrorists were more than likely Americans, the tasks themselves were carried out typically by the black and brown underlings, almost with the intention to hide the fact that these commands were coming from a higher source of power; the illusion however could not be made that these kinds of terror campaigns were of course only carried out by the military itself, or another organization; that the men driving the cars and sent about on motorcycles were following orders and being paid by the military themselves. It was psychological terrorism, but because of its being carried out in New York City, it was almost the easiest thing to hide, masquerading the terrorism as the normal sounds of an only partially gentrified busy intersection—but I knew better. I knew that my phone and documents had been compromised long ago, along with my emails and messages— and I knew that, depending on what I was doing, where I was placed in my apartment, or even what I was writing, the incessant engine reving, the motorcycles racing up and down the block or otherwise just in circles, the cars honking and other sounds made with the direct intention of intercepting my personal frequency—was tactical warfare. Once the recording of these events became frequent enough, the sounds had moved only just further away as to be still audible and to disturb my peace, but just out of the range that my iPhone could continue to gather evidence to take to court against the owners of the garages, the city, or even the property management, for having not maintained the peace in the area surrounding their buildings. Still, it was of no coincidence quite obviously that I had been placed here purposely, and that the carlot, the motorcycle garages, the car garages and their respective car clubs, and the auto repair shops all adjacent and within dysfunctional earshot had been created after the year in the homeless shelter where it had been gathered, my sensitivity to sound and synesthesia could be used as weapons in order to dismantle and disable me. The moral reprocussions of these ugly little men on bikes or the even uglier ones in cars were none more then the soldiers that were just as often placed on the front lines of any war— a tactical betrayal of peace and freedom, I could only gather that this operation perhaps intended to pursuade that I should abandon my creativity and instead pursue with passion the humanitarian interests I was capable of, or maybe even political, however—because these things were being carried out in such an in humanitarian way, I became less interested in anything having to do with it, and it only made them more stupid and dirty, lowly and evil like the snakes they were, now that I had rearranged my furniture to always have my backs facing them. Now, not only were they below me, but behind me; once and for all positioned in such a way of knowing that everything they did on the outside of this apartment was underhanded, cold and treacherous, and against the forces of God and of nature. My right to peace and privacy has been violated, and now, worse, my body had been attacked. They were no better, no smarter, and no more powerful than the weakest men on earth—men who could do nothing themselves, but be made to do by others, subsisting entirely by consumption— the product of the light and enchantment had had been wasted with the minimal effort of having created such as these, otherwise useless creatures. The less I chose to interact with people on this level, the less opportunity it gave them to attempt to penetrate my mind or dismantle it am any way, psychological or otherwise. I had become seemingly erratix and unpredictable, moving about at times and in directions that couldn't necessarily be pinpointed— but the more time I spent away from these hostiles, the less erratic I actually was, able to think with clarity and move with stealth, only appearing at the surface for air every once and awhile, and realizing how remarkably desperate the groups that had been stalking and harassing me for to get my attention. It must have been military, and being stalked particularly by men not just simply smoking cigarettes, but intentionally going out of their way to smoke them and blow the smoke into my face— people almost needing to catch up with me or end up in my line of sight and however, it had become easy to avoid them, finally having realized that at this point, most of the time— even I didn't know where I was going. My dismissiveness made me harder to track, and my indecision had suddenly become an asset. I was always ahead of the people who were sent after me in one way or another, and besides the plants in my own building, making themselves obvious as gangstalkers by their particular way of dress and behavior— it was impossible for anyone to understand my way of thinking anymore, because it wasn't in a straight line, nor was it on any grid of systematic standard. I was almost always offline, and off grid, which meant that the people who were online and on grid were of greater number, and more predictable — instead of being moved around, I was the one moving things. I knew that anybody with a cellphone—almost everybody— had to have been connected to something—something that I wasn't connected to, especially moving about, and so the movement and frequency of these beings differed so greatly from my own it was as if playing a two player game in which the other player is simply a computer. The algorithmic nature of things just as often caused me to think about Joel Zimmerman as it did anything in life, and it was just as likely that the more time I spent thinking of anyone or anything fondly enough, then would appear in public anyone that looked just enough like them to momentarily trick my brain out of reason, and typically even more a tiny blonde girl just beside them to remind me of the pecking order of the evil world. The lightheartedness of being ideal in any must be so attractive to the male psyche that its dominance over the structure of the human species will forever stay unmoving. —Tales of a Superstar DJ. MOOOOOOOAAHAHAHAHAHAHAHAHAH! NOW THAT I HAVE THE PELOTON BIKE AND THIS JUICER, THE ENTIRE WORLD WILL BE MINE! AHAHAHAHAHAHAHAHAHAHAHAHAH!! You are psychotic. You think I'm psychotic now—just you WAIT. (I also have a pink treadmill) AHAHAHAHAHAHAHA—MOOAAAAHAHAHAHAHA!! Dang girl, chill. I WILL NOT CHILL. YOU CHILL. I'm going to be so devastatingly effing RIIIIIIPED! Srsly. Some.. uh.. Houseplants… Like, a shag rug, Some blackout curtains— Minimal effort here. Uhhhhh. What are you doing? I'm fung shueing. L E G E N D S Last night I slept totally in the nude; Of course, leave it to good old fashioned good timing-/— The return of the hellicoopyer, and whatever's at stake with it No time to breathe, I'm having a spiritual experience on the cycle bike No time to lose— That's right. About face Walk away It's central intelligence Too much sweat in my palms To use my palm pillow? Hi god I love you God knows my timing, Lord know me well Don't tell me it's a writing assignment Really, yo I'm just here to spectate LETS GO! LETS GO!!! If you're not early, you're LATE! Okay, okay. Make my bed, wash the dishes. 2X202-ST5, Aphex Twin Either way, it's a pit of snakes Either way it's a den of wolves Either way it's a rat race, on my way somewhere else, I don't know how to go under the radar. You look ridiculous. Good. Are you sure this is the right place and time. I'm pretty sure that's my eye, up there. CBS Television Studios( New York City. Jesus, oh, Jesus Christ— Just for the ride; I asked nicely— …are the police here. No. Okay. Thx. Terminate, terminate— Hesitate a little. Turn your head around, a mate A million, a mile a minute Temper, temper Remember your severance Remember you made it Remember the parade and what day it's on Who makes up holidays anyway? Banks. Cool it, on your woodwind, would you Smells like barbeque, And I called it Forget to light a candle Summer winds, summer winds With your blood on the ceiling Remember who it is when you get there Hit me one more time Like the nightmare— Way up high I guess; Way less impressive, your crucifix I don't trust nobody with two first names, son So let's try the one With a traditionally masculine. So let's, So let's. Let's try the brown eyes on next, shall we. I like these. Same as. Wonderful, really. What's next. Hands, I think. Eyes, and then hands Ryes, and then hands, Eyes, and then hands Would you get the fuck off of me? I'm. Going to pay my tithes early Get the fuck away from me, you absolutely inferior rodent. At least I'm cognoscenti. I'll actually fucking kill you, And if you come back, I'll kill you again. Damn, I almost wish I was a lesbian. Nothing? Nothing yet. GODDAMIT. What. What do you actually want from me? I told you don't be late. What the fuck are you wearing!? Progress. Ough! —and jewel tones. The fact that I'm not wearing makeup, Could easily be hidden, With larger frames, And a little less giving a fuck About fashion instinct, And intensity The ce el.followed me all the way to the L train; Don't bother me none; She needs somebody, And all I need is a one hour slot, On Comedy Central. Somebody get this robot out of my peripheral. Somebody get the paramedic stat! What happened!? He thought it was payday and it's actually next week! 911– what's your emergency! Quit playing with me. Always look at the way it matters less When you lay attention to the face, and the stance— And it matters why she's mad at me, when after all these years, after all The veil has been lifted, but the mask hasn't And I just happened to make way to the goddamned Goddammit The mansion. So they said they'd give you a million dollars, just to— Yeah. What'd you— No. You didn't. No. You thought I would? Are you ready for wisdom and witches And wishes galore? Not yet. I asked for a prayer and “You're pitiful” —proud as pitaya, But I prefer Açaí, And after all Either one or the other is better than pina colada But of course, I'll take it If the other refreshments Are unavailable What the fuck is that in reference to? Nothing, probably Let's just be honest, I'm not getting In anywhere dressed like this in LA; Which is why I did it— And brought an extra set of clothes just in case Click my heels, two times Who farted. It's the subway; Pick any three people, and you'd probably be right This is hilarious. I ride the subway to Manhattan around lunch time, and it was mostly just— White people on vacation. lol lol Here's the trumpeter counting his money; Here's hoping he plays something Conveniently losing my cash . Means he's missing a dollar The way to the market makes subway trains unbearable, Which could only mean one thing l— Getawayfromme. Sing it! I'm intolerably horny most the time, And that counts anytime between now and forever So the Jptown a it is. As the train rolled slowly into Columbus circle, I started to get that feeling again— the same feeling I had the other night on the way to the comedy club, as if I was about to go on stage. I wasn't, and this, if anything was more of a consumer experience mainly meant for my entertainment, but still, I had butterflies— and there was no reason for them besides not having had any water— I wanted to make sure I had no need to run off to the restroom, either on the way, or during the taping , and— If anything. SOME BACKGROUND MUSIC!! Congratulations, you actually made it somewhere— Anywhere in New York City, On time. ..:I was on time to my stand up show. Exactly. MWAHAHAHHA!!!!! At least you laugh like a real villain, bro. I don't know what what's in reference to— Me neither. Now where was I…? Thank you. Everywhere in New York City is exactly one hour away. Even in midtown— Even in midtown. I told you they're all the devil. That's kind of incredible. Or god Liz Or, it's one in the same l. I might not ever make it on television— Even the assistant is gorgeous, (And majors in engineering) Somebody tell me why it's 100 degrees in fucking October! Global warming! I told you already l! What about the ice caps?! I TOLD YOU THEY MELTED!!!! Then again, Really kid— five o clock shadow at 1:48 in the afternoon. This is Telivision. It's a little ridiculous— Whose kid is this? If nobody claims him, I'll take that instead of lunch. How were you planning on lunch with it your wallet? I wasn't— But suddenly i'm hungry… Shut up! I used to get paid for this. I still do; watch this. I just realized, that I'm not having a good time I am method, so just— try to remember that. Where did the husbands come from? I was just in a room full of women— Now where am I? Remember the portals, and remember the Tenements, tenements— Tenements, tenements!? Old New York. What the fuck ever. Omg is the lady behind me possibly pregnant— And if she is she's keeping it— But she doesn't see herself being with the guy— “He's kind of affermenante” What? “He doesn't have that like, Charisma” I told you I still can get paid for this. Appearances, appearances, Charisma, Charisma So— its voice activated— And then once so many cell phones like, Detect my voice, a small signal is sent to that phone To make them start coughing. We can only assume that what is happening? Almost no one was coughing Until the banter in the bathroom I love this demographic of demigogs And badic bitches And tenements And tenements In intimate settings— OLD NEW YORK. How old Well, there are the tenements. We never really grow up, so we? We never really show out— Goes to show for sure I am indeed a God; For as soon as I walk in— They all start coughing. Where did the husbands come from?! This was, I promise you, an entire room full of women. THERE HE IS. GET HIM. GET THE FUCK OUT OF MY KITCHEN! But—I didn't do anything! GO! Multiple steps in the directions of the Gods; Nothing to lose, but getting lost In the buildings and the tabletops The shadows of the others; Supposedly blocked into our time Blacklisted in hesitation that I could One day Very nearly and dearly Wish for something other than the best for Everyone involved, However I say no, For one million dollars only is a very small sum In accordance to the torture and disorder in the chaos I've come on here And here it is ; Again, Something to live for Something to love by Something it get into go for it, There was nothing other than the storm to come And yet A pool of course, You wanted full force for under The wind blows south And gone so deep under the water, There's no terror system! Here it is! All are actors, The world is a stage and yet, You fear it There's no conforming, Just admittance I came to get the app with the DJ's jumping off boats That's it. That's it. That's what I came for. Move still! Be you mad! I am mad, and envious of thee here, knowing not what I know and— Doing nothing in the midsts of my heartache, None glory being this, knoelege and yet Without wisdom The feeling of teeth sinking in, Hind legs ready to run, Water under no northern skies, But droughted— And mine, the thought of l weary skin The keeping of Times Times Times Tenements Times, Times, times- a Tenements Times, times times Percius, be you still? Still I wait. No honor. No judgement, mine is. There was no gain; There was no wise knowledge There was no wise for wisdom The times here The times here And even when you want to stop recording Turn your phones off— Even when you want to stop You keep rolling until the very last The very last The very last minute. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. ©

For the second time in recent happenings, the scar on the inside of my bottom lip began to swell and heat up strangely, as if it were activating in some sort of way or still healing—the scar itself was almost 8 years old, and in fact— would be 8 years old with the coming of springtime. It was a strange sensation, though not entirely traumatic— and while also fighting off some sort of infection, my body in entirety wasn't altogether well, but the mark to me stood out anyhow, as just the other day after leaving the craft store, the scar had lifted bizarrely, swelling as if some sort of creature under the surface of the skin had been moving around just enough as a reminder that it was there at all—now, something like a week later, it began to tingle and heat as if it were in the process of mending itself, and though when it had been healing, bits of skin and pieces of my bottom lip which had come loose after my bottom row of teeth had gone through nearly to the other side— not quite puncturing all the way through, but enough to indent the outside of my mouth with some bruising and swelling reminiscent to that of having once pierced my lip; in fact— the damage was so apparent that it had created a swollen enough tunnel on my upper lip, where my canines had created marks to make make it easy enough to re-insert new jewelry into the old piercing which had closed over time, and now had been halfway reopened by the blunt force of my teeth connecting with my ex's fist. In fact, I took it well enough that re-piercing the old upper lip didn't hurt at all, and almost made it seem meant to be. Then, in my mind—I was still fragile. Six or so week postpartum and still heavily lactating, with severe depression after having learned of the infidelities committed throughout the entire duration of the relationship had left me in a frenzied state— I worked almost around the clock after being hired at the local veterinary clinic, the doctor of which I had known since I was seven years old, and who had been happy to hire me, and after having already lost something like a hundred pounds, I took to the job considerably well, completing my daily tasks to focus my energy and the duration of my shifts to running the boarding dogs, often saving the larger breeds for last—the greyhounds and labs, the retrievers— so that I could run as fast and as hard with them as I could, and with each dog, a set of squats, windmills, and burpees and jumping jacks before running each pup through the obstacle coarse in the yard, never eating on my lunch breaks really, but only ever stopping to pump milk— so that especially when running, I wouldn't create a mess. I had always over-lactated, even for a short time supplying milk for other children, and in particular—my very best friend, whose choice to quickly resume drinking after her son's birth dissallowed her to continue breastfeeding, and either way, I had more than I needed, besides the occasional lot added as coffee creamer by one such who had discovered the magical and medicinal property of fresh breastmilk. I was, of course, considerably smaller than I had ever been, probably since the fourth grade when procuring such a scar— and it only seemed at least somewhat believable and fitting that, when asked about the heavy swelling and bruising on my face and lips, that I had been hurt so tragically working out on the pavement— having falling doing pushups, or burpees, or something—to which no one seemed to have reason to believe otherwise; I had, after all, taken my level of fitness to new heights, and, after having lived so much of my adult and adolescent life anywhere between 250-350 lbs, once peaking at something like 380 or even more without the actual knowledge of such (always being asked politely if I wanted to know during doctor's visits, and of course, declining) my chaotic and frenzied state after the realization that the entire fabric of my relationship had been a complete lie, made sense to the outside world—and though without the bravery to actually admit to what had happened, the Doctor, after scolding me for not completing my daily tasks, just the day after this scar had been created, seemed to have let me go, not because of the actual incompletion of my duties, but as a harsh reckoning with knowing that I had lied directly to her face about what exactly had happened to mine. The years homelessness that followed was due to the eviction received after having lost this job, and though with steady and careful recovery I was able to break free from my abuser, the lack of family support and financial stability combined with this legal eviction on record would see my struggle as a survivor of the physical and psychological violence which occurred over this, nearly a decade's time, seen by the outside world as an antagonist— a sick person, a derilict, a disgrace. It would take years for the truth to surface and as it had, the strangeness of things began to occur as not things in my mind, but things in the world, which were very real—and though while still in harsh denial of any such things besides other, ever having happened, it was this that remained, this scar—now strangely heated and almost swollen as if again I should be reminded that this scar did indeed mark a death of sorts, the life after which had all been some sort of strange dream; a walk through the afterlife, sometimes carried on the wings of angels or even driven by chariot of The Gods. — Death of a Superstar DJ. Lights fade, Fade to black; Sacred stones and crystals cross eyed, Just across I, Desire my mark; The finish and the start line are one in the same So as soon as I finish, I start. Part I Do not disclose your location. No address, I guess. Stressed and headed for some sort of war zone I'm sure, No entitlements and I pushback, Push to start —I swear if you keep scrolling, I'll take your eyes out. I been yellow taxi'd Two four door Ford explorers, Nevermind the o'luck eye, Cause I am all for it. Party to the people! I need water, I mean, power. You wanted the Stand Up Special. I wanted nothing of the sort. You could be funny. Suddenly I'm sitting in the middle seat, My eye on - Seriously, I might not ever come out in public again Again Again Again. What are you channeling? Apparently, Jimmy Falllon and Natalie. What in the fuck are you wearing!? (A blazer and a fish scale.) What in the fuck are you trying to say? I'm trying to— Thank you I fainted and woke up in LA . Dang. If you're going to cry, You might as well do it at 10,000 feet in the air— —she's tied to her phone, the ensemble has gone. Nobody wants her around anymore, Nobody wants a new phone, not really. Nobody needs a new friend, not Fallon. I picked up the one thing I liked In the whole place And your name was on it. Is this fame, or magic!? Is this God, or a bludgeoning? I forgot where my heart went, Steered toward the fountain, naturally So the water would calm me. If this obviously-from-denver New balance wearing motherfucker doesn't get His long ass leg from within inches of mine, I swear all the way to God And all the way to— Where is this? —wherever. I'm gonna reach behind me, And kill him. You know you've been in New York too long When you don't have not a lick of patience Or time for anyone's bullshit. you: Shut it down. Shut it down! A slap across the face is just as well— —Is just as well. And a swift kick in the ass is We're back to the Irish, The turn of the times, And his eyes are mine again. FUCK THIS,. Just listen to me, for once. I listen to you a lot, voice in my head disguised as Who is this The devil. I guess. Great. So were the devil. Could be. Listen to your gut. Not the greatest idea! I'm hungry. Look, don't you touch me with those greasy little— #spirit fingers. LINCHTIME *LYNCHTIME. Goddamn. That misspelling took a TURN. Let's just— ITS JANE LYNCH TIME! That's—yeah. Listen, I have something to tell you. Does it have anything to do with— Get in the box. Why, what's in the box Damn. I don't have a lick of deadmau5 with me. And why is that. I was [redacted] I don't know.. You — might be the devil. If— maybe. In my eyes (In my eyes) I swear all the way to fucking GOD This long ass nigga With his dirty ass new balance shoes All the way in my peripheral vision Is about to be a whole No leg havin ass nigga Like that nigga I saw on the train the other day I thought about your story Ark/Arc All the stories I didn't want, like Noah's Throw stones from glass houses. Gas prices go up; Every time I see some shit I wanna throw up Stomach in knots lately, Been three years since I seen my own blood No knots berry farm I roam the streets very armed I got scary arms, Call em Michelle Obama; Am I wrong or am I wrong; I love the fuck out to New York, but I don't belong here, I just came to write a song here Got stuck here It's been two years since I had a Man, or a beer I'm black and I'm Queer, Screamed “fuck Fallon”, Then he just— showed up here. Center stage Now I entered a new dawn, Turn the suffering on a bit And turn the fucking lights off I'm high as a kite, A bird and a plane In plain language, I'm a mega famous alien Okay then Sure Sim, it is simple A wrinkle in time, Your first wrinkle I popped pimples, I'm still sure my high chair Is right there I got one foot in the grave, I'm inside Bearr I died there Serious Take the camera and check the images Remember this! I said sit your bitch ass down Before you get slapped by The secret president As a death wish For fuckin real Everybody on the godddamn plane Is about to get bitch Slapped. BITCH SLAPPED. What the fuck is wrong with people. I swear all the way to God these toddler brain motherfuckers Is driving me crazy. I'd rather hang out With actual CHILDREN. At least it makes sense for them to be retarded. Ya'll ain't got no business being this fuckin whacked. Criminal mischief, Interesting, isn't it? Dismissive, In fact, gone fishing. Doors open, open I'm on the road again, road again Hands wrapped around my throat again I'm sure to explode again Who wrote this? Take a ballpoint paper and pen to your notebooks, And you're so shook, you bought Two whole tickets to San Cristobal In the same thought I'm a good boss; I'm a bad kid, I'm a great guy —with some bad habits I'm a fat blonde In a bad mood And that's big facts This dumb motherfucker behind me is about to get slapped— SLAPPED. I didn't mean to hit him that hard, broh I didn't mean to really hit him at all though! It's infinite, this bitch just gets under my skin Like it's Siphilis, it's middles and pistols Niggas and bitches Nothing you would ever see On regular television. I took an elevator to heaven I haven't been back since, I don't remember at all what I left Under or back there In the black lands It's bad earth. Tomorrow, tomorrow Today Tomorrow, tomorrow. 59;/$ l Tomorrow— —tomorrow— Today Tomorrow, Tomorrow How much power can one man have (Apparently a lot. ) What could this mean, If nothing at all? I just wanna get loaded And run off and rave I just want a family, A horse, And a grave marker No, don't bury me I just wanted a family. I just want to write a good story, Now I'm stuck in world history All the well knowing Now I know I gotta die Before everyone I ever loved Or even kinda sorta liked — as a fan, you know? “This man will destroy you.” That is literally what the faraway shady ass voice said about Jimmy Fallon. So whyz why god. Is this dude — Not even all of a sudden It's you. It's you. Like fucking everywhere. It's YOU. Gazuntite. I move about silently, Emergency calls only Nobody needs to know me Or where in the fuck I'm going I'm showing you my dark sides And none the wiser The only Devil I got my eye on Is a liar. So what if God then? It'll leave this case open The gate opened up, And I rolled in Smoldering Sometimes I forget I'm the whole world Just long enough To be annoyed By everything in it But especially myself, and increasingly WHY THOUGH. So suicidal, I got blood in my eyes Love in my mind, I wish. Cause with men Love isn't blind Rolling the size And the eyes in the back of my head I heard I'm a genius I'm also retarded Cause I still like penis After all these dicks The vision was just Fallon in back of a Patty Wagon How fitting, Hands fisted and cuffed In front, instead of the back of him The Gillian in fact, was Saint Patrick It's same difference Insane niggas, It's getting ignorant And at this point It's unicorns Something going on, Don't know what it is Feels like something wrong Bitch. How the fuck you walk in a whole ass place. I don't know. The whole ass fucking place Right, I don't know! And the only thing you touch— I—- Has Jimmy Fallon's name on it. I don't— Scary huh, Unfair really, I'm scared, really so Seriously don't look at me funny If it gets weirder and deeper When I never really asked for this And I don't really know what happened I think Fallon did it. —but on what account? [The Festival Project.™] The Complex Collective © COPYRIGHT © THE FESTIVAL PROJECT 2024 ALL RIGHTS RESERVED. © -Ū.

It had become obvious that I was being used as some type of experiment— the motors, honking horns, and engines all being used to strategically shift my thinking, deteriorate my moods, and provoke my anxiety. My placement in this apartment had been for a specific reason—using my synethesia against me, the feds could do literally whatever they wanted with my mind and body, and they were attempting to create an angry and hostile, militant and obedient done like the rest of them——and though I was getting stronger and more immune to the various experimental tortures they had planted in my environment, I was always 10 steps ahead, and knowing that while some of myechanisms had become startlingly predictable, even to me— that something in me was always 10 steps ahead or more. That certainly, and at will, my doing something—anything at all— terribly unexpected would derail and confuse these people—most likely federal military personnel or some sort of special forces—within the understanding that people with my intrinsic abilities could not only become a threat— but used as a weapon; I wasn't being paid, and had already been without a home so long that it didn't seem to matter regardless—knowing that my circumstances shouldn't permit that I should become subject to such cruelties, taking the high road was in being determined to deliberately sabotage any attempt at further penetrating my privacy and peace— which more often than not meant, that if I knew I was being listened to— making sure something would be heard that would confuse or annoy whoever was listening— that, if I was being followed, getting lost on purpose would ensure that whoever followed had no idea of my actual intended destination—and, that if I was being baited or trapped, to as often as possible fall into the trap, allowing them to feel as if I had been entirely figured out, however—the more I realized these things happening, the more dismissive I became, the more secretive of my own actual reservations and solutions, and the more discreetly I kept what was well known hidden, within myself or elsewhere—and though inclusion and diversity had become a popularized puppet show of sorts, creating the illusion of acceptance within the masses, I knew overall to the powers-that-be, the keepers of the keys, the guard era of the gates, and those that determined value in our society, that I was still just another ugly nigger, with too much brains to know better than to just accept the mediocrity and subservience that the regime had crafted for us. —Death of a Superstar DJ. Four kings have I And none is he Who waits at my demise For every beckoned call To wish My fair stands strained with time; I am the one who waits For wickedness upon the door And offers her or him A kindness As to part ways once, But ne'er twice For death, I had won All of my attempts to get a regular job had been derailed—destroyed, sabotaged. My money and environment had become scricy controlled— and the only money I had, I soon realized, were to be used on products intended soully with the literal purpose to be washed down the drain.i no longer beckoned for fame or to be cherished— now, simply, I wanted almost nothing more than to be left alone, and without a way to travel somewhere peaceful, the madness of New York City sank into my gut and began to create a monster that I knew If let unleashed, would destroy not only my life, but everything around it—and maybe that was the point— I was simply not allowed to have a happy life, for whatever reason— and these mind games and torture strategies would continue until somehow, I would meet my end. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

Get away from me. I'm a hologram. Far away, please I am very far from you– Well get further. I'm in another dimension actually. What do you want, dude? I always finish what i start. What the fuck does that mean?! How should I know?! You wrote it! Then how are you gonna finish it? That's not what I meant. Then what did you mean?! Look! I don't know! All I know is, I did a movie and you wrote it! Just one movie or a whole saga! I don't know! Just write it! So you know some things, but not the most important ones. If I could see through all the plot holes, there'd be no drama It's all drama. It can't be. Yes it can. NO! There has to be some comic relief in it. What would that consist of. I don't know! I am a HoLoGrAm. A hologram, huh? Uh huh. So what happens if I touch you? I wouldn't do that. Oh yeah? *poke* Ok… YOU'RE NOT A HOLOGRAM AT ALL. Hm. I'm sick of subliminal images encrypted with ignorant messages Suggesting the supremacy of the caucasians And how blatant it is that they hate us Illusions of diversity and inclusions to get your money: the usual But the truth is, you're just a tool to them Employee discounts, of course Just so they can get some of their money back Or all of it Owners of corporations Your landlord is probably related to the people that you work for And so forth I'm sure that's why they're trying to push me to suicide before I record this And move forward with Something other than working for them Unless it's at banana republic, a luxury brand Cause i'm sick of looking like a poor foreigner in my own country When the reality is my ancestors are unhappy Karen, Becky and Annie are all happy with nannies And the rest of us are out here taking naps on ou break And unpaid mental health days It's Hell for the unwealthy And wealth is health so good luck eating what you need On an hourly Or salary under 150,000 But what do I know? I'm suicidal eating whole foods That i stole The whole story is longer, but honestly I been trying to get a job That doesn't involve me jumping off of something or Counting someone else's money as they siphon all the energy from me I gotta wonder how much The Roc was auctioned off for Cause landlord and employer are just the modern words For “Slave Owner” DANE COOK: “I WANT A DIVORCE.” But that was a long time ago, I heard he was in love with a 20 year old or something So much for the rest of us: Here's to Tiesto and the rest of em Guys are so fucking lucky for never having to grow up Guys like girls that comb their hair constantly I like guys with blue eyes and blonde hair Not so suddenly, But i should have learned my lesson a long time ago: Now i”m crying my eyes out to Claptone WRiting rap songs trying to take my mind out the trap Rats are assholes Watch coffee run just to be closer to someone or something i love But haven't talked to my son in a month or over, Cause i”m sick of hearing about his father It's all he talks about It's like I don't even know em So morbidly obese I can't even hold him I think I guess i could have stayed in it And kept getting my face caved in Hoping a rave day every now and again would save me Ironically i don't believe in a white savior But i find caucasians savory, Every shade and flavor But rocky road hits close to home THrow me a milk bone and let me sober up Before I start to open up about Sonny or something Just another figment of my pigmented imagination Lived in pigpens beggin pigeons to grant my wishes Which is a kitchen–can't be a Grammy Award, I give in I lost interest, i'm just not skinny enough for Nevermind, don't need another reason to cry On the upper east side, avoiding the housing projects Just wanting to be discovered Or finish the festival project Or for someone to love or want Anything other than money or energy It's infinite, but with every cough i forget coughs must be a witch and just as obsessed with Skrillex as Everyone is He lives in my head I would say my bedroom, but I'm a permanent resident at Hotel Hell No –knowing that last line would be funny if I didn't have to cover 3 burroughs just to get old food From whole foods Cause nothing adds up in a cold room, that's renovated, which makes it easier to take it all in, Until i realize I'm the problem, and the coffee stains are setting in And i just wish the whole world would start over again With me on top of it Instead of at the bottom Of a pyramid With a flat top I took off from Upon discovering The entire human race is Racist, and they just Don't get it I'm the Great Spirit, But hate hearing my mixes Cause it's irritating I'm not gifted enough for INsomniac to sell tickets To any event Forget it, I'll finish this salad and knock myself unconsious for as long as humanly possible Leave my body At the hospital And listen to Gospel with God Then watch Kim Possible in awe of The long lost Christy Carlson Romano I love Broadway Or did once –then wake up Put a fake smile on Like i ate mcdonalds Then ran ten miles to get it off of me Like it isn't impossible It's not at all, –but in my body? Lol stop . What happens when you give a mouse a cookie? What happens when a legendary artist turns into a hologram And comes for you? Uhhh. What happens when you have no food and go to whole foods with one dollar? I don't know. {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū

“Impossible!”, I murmured, after a deep gasp, as I removed from my braziers in preparation to soak after a short but intense workout, not the stone I had with intention placed in my bra, but another. “Magic indeed!” , I thought to myself. I had in some fell swoop of blessings been by any luck or wishes sake, gifted a heap of new books, and new furniture—the latter of which I really hadn't needed, however, with a newly refreshed idea of reimagining my studio and living space entirely, I had shifted into preparation for a lost bed anyhow, and thought that with any foreshadowing, I perhaps might have one by winter, with the space below the bed provided to be tented and shielded off from the rest of the world, so that I could record vocals in a more secluded and intimate setting. I had originally intended to use the closet or my apartment as a booth, but upon arrival found that the closet had been fitted with an unremovable shelving at around chest level, which couldn't be in any way practical for recording without some heavy discomfort, not to mention the closet faced a wall I was sure my neighbors telivison and speaker system was fitted against. After my right headphone died, and the unwelcome company in the gym which granted, had been there before me had left me feeling for some reason like I had lost something—anyhow somewhat paranoid, as I had caught not just one, but two people what looked like taking pictures of me with no doubt in my mind, or reasonable cause that I was indeed being groomed for something steadily but surely— I felt the need not only to vacate the gym rapidly, but feeling as though I had a reason to return to the work I had been toiling away at since the early morning. Entering the lobby, and having to open the door for a pair of men headed outward appearing to move, one of which smelled like onions and raw, baked sour pickles— I spotted a mound of nearly new books and furniture in the area in which people often left free to take items no longer needed— alongside two tables—one hardwood coffee table and a smaller round one which matched, and a water kettle, all in good condition, and favoring the factor that I only ever picked up new or nearly used items anymore, as my apartment was technically full, I quickly gave a second-second thought to rearranging my apartment entirely, growing almost painfully bored of its current layout, and awestruck with the tinges of cabin fever, the stagnancy of being unable to move about the city freely— being as financially limited as I was and having been stopped by police several times already for not having the subway fare, even so just in nessecary errands—to the grocery store, or otherwise; and I had been in all corners deadlocked for an entire summer, almost unable to move at all and the world moving around me resulting in being outfitted almost entirely physically ill. The honking horns, motorcycles, and trash-wielding pedestrians of the busy corner—the unparalleled aversions to whatever unrest and chaos that lived out of view and luckily out of sight—but never out of mind, with its intrusive exhibition of technological sonic torture. Still, I was not altogether displeased—now having returned from the gym almost all the way worked out, having left early having realized that though fasting yesterday, I had spent the entirety of this day sipping on coffee and in complete hyperfocus, just finishing the final proof of the first edition of the printed version of Enter The Multiverse, and though with limited supplies, I felt that it would carry on in this way until somehow, I found a way to complete the process of taking The Festival Project as a label and now, The Collective Complex as a philanthropic non profit, onto higher grounds. Though I saw more the new furniture and books as a stroke of luck and some magic than necessary financial compensation for the time and energy I had drawn up into creative contributions and endeavors to society—I saw it as this— a looking up and forward from something that had once been only some strange form of compulsion and raw emotional expression, into a platform that could grow to help others overcome and survive hardships such as I had. (™ © Illusions of whisper Simple mirrors (Doppelgangers) Chains of charity Cat and mouse Misery What a waste when you've spent your time making Unparalleled judgements Unparalleled judgements No lack of gratitude, Confusion of movement (Gratitude) Suffering, of course Wanting still, But unwanted Moreso Misery Careful as it's closing in, They'll call your bluff now {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū.

She's a practical genius- An actual genius, they say, —but she'll never believe it. There's no more star struck Clouds strung together With bruises All the lies and all the lairs The layers of cake For birthdays missed A Christmas present, In lessons learned The Devil wishes For her to suffer Surely, she'll come around at some point But today, of course To her dismay, It's just attention deficit And jelly fishing Was the straight jacket really necessary? You said you were going to kill everybody. I was Skrillex! Sure you were. Silence, children I'd rather than to kill you Have to feed you forever, From my breast and my loins A sour milk gon totten Than to give you all To Television dinners And seat you at Tom's Restaurant In the smoker's section Rather now I die and here Than go on knowing I may never know my whole God again, God Thereby and there I go, Open and world over closer They simply shouldn't bother With such fragile and delicate a flower That she truly has Become carnivorous There, now children I shall feed you from the fertile soil Of another world. Not forgotten, but hidden from forsaken Shallow souls of pestering man animals The shallow souls of man animals To seed the sigh of senders promise Never worth fortold by nature Never less the sounds of science Never less control of masses The masters in distress, The makers of madness The masters of distress The makers of madness The makers of chaos Worth, running For, follow Tear, sacred Tears, sacred Take her Take her Again to the way now Take her Take her Again to the fortress Take her Take her again to the world now For even in a pit of snakes, A wolf is bitten For even in a tank of sharks, the ocean The lion would never triumph Take her, Take her again to the fortress Take her again to the world now Take her, take her to forests and fire Take her again to betrothed, nature Nature Nature Fall short shadow, will you Will call it The one who comes Is also myself! O, lord! The one who calls Is also myself Oh, My Gos The one who wakes, Is also my self No, God, Foreshadow my mark Foreshadow this kindness unto man, My shadow hath quaked in the dusk Lurking in all the, mine crevices Mine shadows, Mine evils, Mine darkness, Mine envy My death Falling under water, Here I am breathing in The deep of salt, The dault of man The dusk and dawn The fortress Wait here, dear shadow, For I must creep low to supply you with light Wait here, dear captor The world you have burned from our kindle Wait here, dear mountain For many years from now, You too shall again be the ocean floor Hear now, dear birds The words of our feathers, With hands that made wings, And voices of songs, You were born Wait here, dear shadow— For I am making you heat to nourish Wait here, dear shadow, For I must lurk and creep low To supply you Wait here, my dear shadow, For truth is only in essence, Your eyes now Wait here, my dear captor For shadows have waited much longer I pray you Every fucking Friday! I almost skipped today, you know— Just as I realized The Devil would attack at the moment I might have anointed my arrival To the oncoming And the devil is mine again As he has no power at all But my own Control your wits, captain! CONTROL MY WHAT?! There's a storm a foot and we're at the helm of it! I'M AT THE HELM OF IT! AYE! AND WE! I'M THE CAPTAIN! AS I SAID, CONTROL YOUR WITS! WHO'RE YE YELLING AT?! [lightning strikes closely as the waves begin to tower aside the ship— thunder rumbles.] {Enter The Multiverse} Oh My, God—Tina Fey! Hi! I—uh—yeah. It's so nice to finally meet you. Hm. I—I was the hot water heater in your book! what's that supposed to mean. Did I read it. Working on it. Am I in it?! Why would you be? I don't know! Am I? Just— give me a few— How long is that?! What's a few?! How about a montage? CUT TO: THESE BOOTS ARE MADE FOR WALKEN. And that's—JUST—what they'll DO! And— One of these—days— These boots— Are gonna WALKEN Ova U. Nancy Sinatra is still f#cking weird. I must admit, i feel personally attacked. OH, GOD. OH NO. This is certainly the thing you do not want, When trying to erase someone entirely from existence. Or at the very least… Jesus fucking Christ. …thinking about something in any sort of way. This. …and again. Is most certainly what you don't want. My walls are closing in, full figured artifact of closure, And infact I exaggerated the fact of circumstance Because I had to Because I had to What, am I on in the other room? Supersonic as we all were, By the millions and by the numbers The simple heart attack was won, The hearty breakfast, Stripes were earned And not a one tear shed after –but my head hurts But my head hurts. You started it. I did not; but I most certainly will finish it. Quiet, they're coming. Quiet the children; Ready the talleys, Count all the votes, And stable your alters; Didn't I warn you? (I warned her!) Didn't I warn you? (I was warned) Didn't I warn you? (Why didn't you warn us?) Cause I wanted to I wanted to I wanted to hurt you. Well–dammit! What. what happened? #villain battle I can't kill you. What? Why not? It's–it's in my contract. lol damn what kind of contract did this dude sign? Lol idk tho. This could be progressive, But instead it's cynical A wizard and a mystic should make some interesting kids, though Another lesson timber, timbre all the violnisits And the brass section is fascinating, Rather–0 More percussion DId you mean this? I meant everything I ever *sneezing* *DIDN'T* Say. Gazuntite. Daggers and daggers and Daggers and I'm sorry what happened to your mailbox; And your mascot. I got ass, God. I told you. Now, what? Be strong. Okay. I'm strong. Cause here they come. Here they come what? [The lust monkeys enter rapidly.] Ah, God. The lust monkeys. The lust monkeys. The lust monkeys! Dammit! Why can't it ever be like, The trust-fund monkeys. (Sometimes it is.) I feel sick to my stomach, And made of straw; Hey scarecrow– Comeback to the Wizard of Oz Hey, scarecrow– Come back to the Wizard of Oz Hey scarecrow– Come back to The Wizard of Oz The sun don't shine on Anywhere else Like it shines on california –it shines on California, Los Angeles DAMN. LOOK AT LOS ANGELES DUSTY ASS. DAMN. LOS ANGELES? …what ? yeah! LOS ANGELES! GET YO' DUSTY ASS OVER HERE. Look at the starlit purple sky; Always follow your mother's advice Water is boiling, toil and strife; Follow your mother's advice Standing on the Rock, Aretha Franklin Don't you know I missed All the good years Cause someone hates me Cause someone hates me Don't you know I missed all the best years Cause no one loves m Cause no one loves me Cause no one loves me Your Love Keeps Me Waiting, Joey Diggs In some other city somewhere, The traffic still stops all the same All the while, I still look out the window Wishing, watching Tops of buildings thinking INT. FAIRY WORLD MARKET Oh Wanda–you look horrible. Why thank you. “Son of Sam” So wait, I– Hm? Who does she think I am? Whoever you are. [beat] Well–who am I, then? Indeed. You know, ever since Cosmo left, you haven't quite been the same. Nobody's really “the same” as they ever were…. I heard he's been drinking. He's– [another flashback] All my Love Phil Perry & Renee Rapp –always been drinking. MAN, I CAN'T GO NOWHERE IN THIS BITCH NOW I GOTTA WAIT TILL THE END OF OCTOBER TO MOVE AROUND NEW YORK WITHOUT SEEING THIS [Hello] NIGGA . I told you that was niggly nigga. —and I told you, you were starstruck. I'M NOT STARSTRUCK. Somebody! Get him on ice! Ice, Ice Baby… What the hell is this? Your uh – It's the paperwork you asked for. These are murder charges! Manslaughter, technically. “First degree murder.” Oh, that one. Yeah. THIRD degree murder? I thought that was separate– What is even the difference?! Did you get my– QUIET. You shriveled old coon! SO AM I UNDER ARREST? No ,sir– What?! I mean, yes, but– What is going on? You're like– You're filthy rich. Yeah, but. So like… So, like–I'm not going to jail. Oh. No–yes. No, you're definitely – Definitely like eventually– Definitely eventually going to jail. Dammit! But like–not today. Oh… Yeah, see. So is it like. I said that. So is it–like– I don't know. On a wire? I don't know, man. Fuck fast fridays. I'm right there with you. This is the last one. Yeah man. Forshure. “Full figured” Telepathy sucks. He was my muse By many man For no other reason Than that I cherished him I was at fault But none to blame The wiser sense that lied beyond My reckoning The wildest thoughts Bloomed as fruit from trees The nourishment Of a greater cause to die with forward blinding light Towards eternity My music Nothing greater shadow felt, Some sense in tears, Which would not fall But rain, did, somewhere Knowing that I loved him –and in my ways, This was our world, The meaning of it Strewn to words With listens; Crafting tides and stardust Out of wonder and confusion lying scattered on the tracks As I'd imagined, Disrobed and also dishonored A horror movie, And no more judgements, For it was over, and drunk The water I had poured into hearts The shadow that hung over Like a gliding ::||pause. –well wait, what kind of bird is that? …A big one. Alright, unpause.:|| Sparrow, with wings that fly only so high, for a while, as reminders That all we, Are earth bound, And by beauty and with time, Bound to one another. (Respectively.) I V Moonlight Becomes You, Johnny Mathis This is getting pathetic. Pathetic on my part, or the Illuminati's? What's the difference. –MONEY MONEY mO NOBODY'S PAYING ME. Yo, first of all– [Hey.] FUCK YOU, CUT TO: What did you say your name was again? I want to thank you for your love, The Emotions CHRIS ROCK I THOUGHT I WAS NIGGLY NIGGA. {Enter The Multiverse} [The Festival Project ™] The Complex Collective © #fastfridays {Enter The Multiverse} [The Festival Project.™] COPYRIGHT © THE FESTIVAL PROJECT 2019-2024 | THE COMPLEX COLLECTIVE. © ALL RIGHTS RESERVED. © -Ū

For the first time in a long time, Or at least sort of a long time, I seriously considered suicide, And all jokes aside, it almost seemed like the only option for someone in my predicament In my mind— I would never be white, I would never be liked— And I would never have the chance of getting my projects into the right eyes Or heard by the right ears. The sounds of motorcycles made me want to die. I didn't want anything at all- Not music, not even love That is, Besides being quietly held from behind. I felt like I was suffocating. Exercising was no longer enough. There was no such thing as love or time. I wasn't losing my mind, so much as my patience for mankind. Money ruins everything. Especially not having any. I just be fun to torture. How many versions of the Truman show are running right now? My entire generation under the guise of the American Dream, fighting to be famous, stars in our eyes and fame for sale at a certain price: What was the price? For some, precious bodies would prove to be fare fortune. For others, sheer luck— —and some— Inherited funding provided by l the indoctrination of the inequality and social warfare —not so simply just black and white, but rich and poor. (™)

Superstar DJ, OC (Original Club Kid), and party promoter extraordinaire Larry Tee joins Randy, Fenton, and James to discuss working on his fashion label TZUJI in Berlin, dating an unknown Michael Stripe, and watching a young "RuPaul and the U-Hauls". Inspired by RuPaul's stardom, Larry Tee wrote RuPaul's song "Supermodel (You Better Work)" for him.