Podcasts about Uptown

Send us a textThe mixtapes raised a generation, but the documentary forces a reckoning. We pull back the curtain on Sean Combs' climb from Uptown intern to Bad Boy mogul and walk through the cultural milestones that made the 90s feel invincible—then we test those memories against the stories many never wanted to tell. From Jodeci's leather-and-Timb boots to Mary J's raw soul, from Craig Mack's spark to Biggie's reign, we trace how a glossy East Coast sound took over radio while rivalries with Death Row and the Source Awards lit a fuse the industry couldn't control.The conversation gets real when the music stops and the power starts. We revisit the Quad Studio shooting, the tensions around Pac and Biggie, and the Vegas night that still haunts hip-hop's timeline. Alongside the headlines are the quieter mechanics: contracts that promised fame but not wealth, gatekeeping that rewarded silence, and the uncomfortable calculus of access over ethics. “Making the Band” nostalgia turns into a lesson on control and career stall-outs; claims from collaborators like Little Rod introduce intimate, manipulative receipts that are hard to shake. The documentary doesn't act as judge; it catalogs patterns and asks what we ignore to keep our favorite songs untouched.By the end, we're weighing legal outcomes against moral clarity. Did public campaigns sway the process? How much responsibility lies with the machine around a star—managers, peers, fans—who benefit while looking away? For listeners who lived the era, this is a gut check: can we separate art from artist, or does the backstory change how the music hits? Hit play for a candid, layered walkthrough of The Reckoning, the East–West fault lines, and the costs hiding in fine print. If this era shaped your playlists and your memories, you'll have thoughts—subscribe, share your take, and tell us: what do you believe now that you didn't before?

Tyler is a bartender at Robert's Bar and says Green Wave fans are going to get rowdy tonight, before and after the game

Inflation comes to the snack machine; How much longer are the Pels gonna have an interim head coach? Don Bongino admits the whole "truth teller" shtick was total BS; Uptown bars bracing for onslaught of excitable Tulane fans; Is the world ready for soft shell shrimp?

How well do you know your target customer? What kind of clarity do you have on it? Our guests today are Zach and Tyler Gordon, co-CEOs of Basecamp Franchising, which includes: two brands with more than 200 combined locations, who share with us how they are growing their franchise system in the second hand industry by having clarity and precision around their target customers. TODAY'S WIN-WIN:The success of your franchisee should be your north star. LINKS FROM THE EPISODE:Schedule your free franchise consultation with Big Sky Franchise Team: https://bigskyfranchiseteam.com/. You can visit our guest's website at: https://uptowncheapskatefranchise.com/https://kidtokid.com/ Attend our Franchise Sales Training Workshop:  https://bigskyfranchiseteam.com/franchisesalestraining/Connect with our guests on social:https://www.linkedin.com/company/basecamp-franchising/https://www.linkedin.com/in/zach-gordon-08894746https://www.linkedin.com/in/tyler-gordon-3b38191b/https://www.instagram.com/uptowncheapskate/?hl=enhttps://www.instagram.com/kidtokid/?hl=enABOUT OUR GUEST:Tyler and Zach Gordon are co-CEOs of Basecamp Franchising—parent company of resale leaders Uptown Cheapskate and Kid to Kid. With deep roots in private equity and global franchising (previously Restaurant Brands International), these brothers bring a uniquely analytical yet people-first approach to growing what they call “thrift, reimagined.” Under their leadership, Basecamp is redefining resale retail by focusing not just on expansion, but on elevating the franchisee and customer experience. Their partnership is yielding results: 90% franchisee attendance at national conferences, record satisfaction scores, and bold ambitions to lead the secondhand apparel category both in the U.S. and abroad.  ABOUT BIG SKY FRANCHISE TEAM:This episode is powered by Big Sky Franchise Team. If you are ready to talk about franchising your business you can schedule your free, no-obligation, franchise consultation online at: https://bigskyfranchiseteam.com/.The information provided in this podcast is for informational and educational purposes only and should not be considered financial, legal, or professional advice. Always consult with a qualified professional before making any business decisions. The views and opinions expressed by guests are their own and do not necessarily reflect those of the host, Big Sky Franchise Team, or our affiliates. Additionally, this podcast may feature sponsors or advertisers, but any mention of products or services does not constitute an endorsement. Please do your own research before making any purchasing or business decisions.

A popular Dallas restaurant has a new executive chef; Torchy's is getting a classy makeover at its Uptown outpost; and Tom Brady dined out at a classic North Texas steakhouse. The Dallas Morning News food team jumps in on these topics, more local news and a preview of trends that are played out and those to come. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A popular Dallas restaurant has a new executive chef; Torchy's is getting a classy makeover at its Uptown outpost; and Tom Brady dined out at a classic North Texas steakhouse. The Dallas Morning News food team jumps in on these topics, more local news and a preview of trends that are played out and those to come. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, WYCE Station Manager Phil Tower welcomes Dana Kroll, Uptown Marketing and Communications Specialist, and Mitch Ermatinger, President of the Wealthy Street Business Alliance, owner of Speciation Cellars.Uptown GR brings people, partnerships, and possibilities together to sustain a strong and vibrant urban district.Both Mitch and Dana reminded us that Uptown GR's 28th annual Shop Hop is Thursday, December 4! Uptown Shop Hop is one evening only; Uptown businesses offer an extra festive holiday shopping experience starting at 3 pm. Uptown GR's 28th annual Shop Hop includes free trolley rides between districts, streetside entertainment, and much more. Learn more: Uptown Grand Rapids: ⁠

[REBROADCAST FROM October 15, 2025] A new Lévy Gorvy Dayan exhibition "Downtown/Uptown: New York in the Eighties" features artists Jean-Michel Basquiat, Francesco Clemente, Jeff Koons, Barbara Kruger, Cindy Sherman, and others. Art dealer Mary Boone and Lévy Gorvy Dayan co-founder Brett Gorvy, who both worked on the exhibition, join us to discuss the show which is on display through Saturday, Dec. 13.

Keith Benjamin, co-founder of Uptown Hospitality Group in Charleston, tells the story of how throwing massive Penn State tailgates set him on a 20-year path from NYC bartender to operator of six concepts—while raising three kids under five. After buying small equity stakes in New York bars and becoming an operating partner at 29, he felt pulled to Charleston and went all-in on a $5M buildout of Uptown Social, a 10,000 sq. ft. sports bar and nightlife hub inside a 1915 building. He recalls surviving COVID—shutting down 48 hours after his wedding—then creating Bodega, a New York-style breakfast sandwich brand that grew from a parking-lot pop-up to multiple locations. Uptown Hospitality later added Share House, the upscale tavern By the Way (with partners from Southern Charm), and The Waverly, a wedding venue. Through rapid growth, thin margins, seasonality, and crushing liquor liability laws, Keith stays centered on preparation, service, and his belief that restaurants and bars are the emotional backbone of a community—and that operators carry that responsibility on their shoulders. 10 Takeaways Hospitality people “run into the fire.” You're either wired for the chaos and unpredictability of restaurant ownership or it will spit you out. Preparation beats the playbook. Every shift changes at minute one; the only constant is how ready your team is for the unexpected. Tailgates were the training ground. Running $40K-per-season Penn State tailgates taught Keith energy management, leadership, and crowd control. From golden handcuffs to ownership. High-earning NYC bartending could have trapped him, but he insisted on a path to management and equity. Charleston was the “chips all in” leap. With no collateral, Keith borrowed from friends and family to take on a 25-year lease and rebuild a 1915 building. COVID nearly crushed the dream—but sparked Bodega. Forced shutdowns led to launching a breakfast-sandwich concept that quickly exploded in popularity. Growth exposed growing pains. Opening multiple concepts while having three young kids humbled him and revealed how thin the margins can be. Food-heavy concepts are a different math. Booze-driven venues thrive; a full-service breakfast-and-lunch model did not, leading to a fast pivot to QSR. Liquor liability laws threaten the industry. South Carolina's rules once assigned 100% blame to anyone who served one drink to someone later in a wreck, pushing insurance premiums into the stratosphere. Service and community are the lasting moats. With heavy competition and rising closures, the only real differentiator is how you make people feel—because restaurants are the heart of every community.

Tune in here to this ​Monday edition of Breaking With Brett Jensen! Breaking Brett Jensen opens the show by discussing the shooting that took place Friday during Concord’s Christmas tree lighting. Jensen notes a recent trend in the growing populations of suburban cities surrounding Charlotte. As Charlotte’s growth continues to “spill over,” counties such as Iredell, Gaston, and Union are also expanding. He says this trend may help explain why towns around Charlotte are beginning to see crime incidents similar to those that have occurred in the Uptown area. Next, Jensen covers the breaking story of the night: a guilty verdict in the murder trial of Scott Brooks, the former co-owner of Brooks Sandwich House in Charlotte’s NoDa neighborhood. The two men convicted in Brooks’ killing - Steven Staples and Terry Connor Jr. - were each found guilty of first-degree murder and face life in prison without parole. Jensen notes that the North Carolina recently passed a measure allowing the death penalty, including firing squad and other methods, which could come into play should prosecutors seek capital punishment. He also reports that the two men have been implicated in other killings, totaling eight between them. Listen here for all of this and more on Breaking With Brett Jensen. To be the first to hear about Breaking Brett Jensen's exclusives and more follow him on X @Brett_Jensen!See omnystudio.com/listener for privacy information.

Philadelphia music has a rich and long history, spanning every style imaginable, from jazz and soul to art rock to opera to doo wop and everything else. And who better to helm a book about the city's extensive music offerings than Electric Factory founder, Live Aid/Live 8 co-creator and Cobb's Creek native Larry Magid. Dan gets back in the interviewer seat for the first time in a while to talk with Larry about the thing that drives them both: the ever expanding Philadelphia music story. Larry tells Dan about growing up in West Philly, dances, the Uptown, and early American Bandstand (before it went national). One Saturday night changed his life when he found himself in the DJ booth with Jimmy "Cannonball" Parsons, and his already rabid appetite for music became his path. Larry talks about the oft-overlooked Atlantic City Pop Festival in 1969 (just two months before Woodstock), early concerts at the Spectrum (and why bands loved that arena so much), and how he thinks Philadelphia audiences may be the most influential audiences of the rock and roll era. They also discuss the new book of Philadelphia music history that Larry organized, covering nearly every corner of Philadelphia music over the years. "The Philadelphia Music Book: Sounds Of A City" is out now via Camino Books, and is available wherever you buy your books. It features over a dozen contributors on a wide variety of Philadelphia music genres, and all the proceeds go to support the Philadelphia Music Alliance, an organization that creates, support and sponsor programs that enrich and strengthen Philadelphia's musical community.  

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

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

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

Tune in here to this ​Monday edition of Breaking With Brett Jensen! Breaking Brett Jensen kicks off the show by discussing the Customs and Border Protection operation in Charlotte, dubbed “Operation Charlotte’s Web,” that has been underway since Saturday morning. The headline of the operation so far is that CBP agents have detained roughly 130 people who were living in the city illegally. Jensen says the reaction from government officials, both local and national, has been what he describes as “moronic.” That reaction included statements from North Carolina Gov. Josh Stein and Charlotte Mayor Vi Lyles, both of whom said Border Patrol agents were causing fear and panic in the community. Jensen emphasizes that this “fear and panic” has been present in Queen City long before Border Patrol arrived, due to crime in the Uptown area. Later, Jensen is joined by North Carolina GOP Chairman Jason Simmons, and the two discuss how Charlotte has been turned into a sanctuary city for people in the country illegally. Part of their conversation centers on a Charlotte City Council committee that voted to allocate money to organizations that work with migrants. Simmons says this should not come as a surprise, emphasizing that Mecklenburg County Sheriff Garry McFadden has repeatedly refused to work with federal law enforcement to take action involving migrants who have entered the Queen City illegally. Listen here for all of this and more on Breaking With Brett Jensen. To be the first to hear about Breaking Brett Jensen's exclusives and more follow him on X @Brett_Jensen!See omnystudio.com/listener for privacy information.

Drive around many Charlotte neighborhoods, and you're likely to see murals. There are hundreds of them across the city bringing a vibrant quality to the urban landscape. For art lovers, they turn the city into an open-air gallery that can be enjoyed for free. On this episode, you can take a tour of some murals with Charlotte is Creative's Makayla Binter, who is herself an artist. She shows us around Luminous Lane, a once grim alleyway between 3rd and 4th Streets in Uptown that has been transformed into a colorful uplifting space. And get to know WDAV's new weeknight evening host Keenan Harmon a little better as he takes questions from Phil Vavra. “Arts and culture are why people don't just move to Charlotte—they stay. It's what turns a city into a community.”Makayla Binter By Russell Fenn / @Sofles Ali Loncar / @ahloncar Luminous Lane entrance by @treazy_treaz By @John_Hairston_Jr Pam Imhof / @theleftbrainedartist Peace By Darian Fleming / @daflemingo-and Matt Moore / @puckmcgruff Lion by @treazy_treaz Luminous Lane entrance by @treazy_treaz By Osiris Rain / @osirisrain Evening Opus with Keenan Harmon Keenan Harmon Tune in to the Evening Opus and more Classical Music with Keenan Harmon weeknights at 7 p.m. and learn more about The Nexus Jazz Group at the Stage Door Theater.

Tune in here to this ​Wednesday edition of Breaking With Brett Jensen! Breaking Brett Jensen kicks off the show discussing the major local news story he broke on social media: Customs and Border Protection agents are being deployed to Charlotte from Chicago. Jensen emphasizes that Customs and Border Protection is different from Immigration and Customs Enforcement and says the agents are coming to Charlotte for a specific operation. He reports that more than 100 CBP agents are expected to arrive in the Queen City as early as Nov. 15, but no later than early in the week, and that they will be in the city for only a few days. Jensen also reads a statement that Charlotte Mayor Vi Lyles posted on her social media account, noting that it’s the type of statement only Lyles would write and share publicly. He points out that the word “safe” appears repeatedly in the statement. Jensen suggests that Lyles should instead focus on keeping residents safe from the murders occurring in the Uptown area, which accounts for 14% of homicides within Charlotte city limits. Listen here for all of this and more on Breaking With Brett Jensen. To be the first to hear about Breaking Brett Jensen's exclusives and more follow him on X @Brett_Jensen!See omnystudio.com/listener for privacy information.

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

Charlotte-Douglas Airport part of FAA slowdown due to government shutdown; US Supreme Court takes up gay marriage, again; Charlotte FC in must-win match in Uptown.

Review of “Uptown Special” by Mark Ronson Grades: Music          A- Lyrics           A- Production   A- Overall         A-   Email your comments and album suggestions to Feedback@FiveMinuteMusicReviews.com Follow us on Twitter @FiveMinuteMusic Like us on Facebook at www.Facebook.com/FiveMinuteMusicReviews Listen to us on SoundCloud at [...]

A Halloween haunting with Denverite's third annual DenverFright. Local writers gather on stage at The Bug Theatre to send chills down your spine, including Stephen Graham Jones and Teague Bohlen. Denver historian Phil Goodstein takes us to a cursed block Uptown. And the Denver Zoo Conservation Alliance's scariest resident shambles in! 

BUS DRIVER LINK UP gala edition 2025 by UpTown

NC can't ask for state funds to offset loss of food aid; new pedestrian bridge linking Uptown to South End to start construction

In this inspiring What's Your Story episode of The Way We See It, Alex reconnects with longtime friend and teammate Rodney “Rocket” Burns, whose journey stretches from chasing Big Ten football dreams to finding purpose through faith, family, and calling. Rodney shares about growing up in poverty, his time playing football and singing with the group Uptown at Evangel University, and how God redirected his life toward both a successful career in engineering and more than 25 years of ministry as a volunteer youth pastor. He opens up about walking through his son's Type 1 diabetes diagnosis, how it shifted his career toward purpose-driven healthcare work, and the life lessons that continue to shape him today. With humility and wisdom, Rodney encourages the next generation to stay disciplined, cut out the noise, and commit fully to the plan God has for their lives. #TheWayWeSeeIt #WhatsYourStory #FaithInAction #BigTenDreams #UptownSingingGroup #EngineerForChrist #YouthPastorLife #FaithfulFatherhood #PurposeDrivenLife #ChristianPodcast Alex Bryant Ministries is focused on helping people be reconciled to God, then within one's own self, and finally being reconciled to our fellow man in order to become disciples. Connect with us and our resources:    Our books - Let's Start Again & Man UP    More about us Like, subscribe, and share. Partner with ABM to place resources in jails and the inner city for $19 a month at alexbryant.org.  Follow us on Facebook or Instagram

Host David Manilow is a huge fan of Ethiopian food. Spices including turmeric and cardamom are alluring, no doubt, but it's really the communal nature of Ethiopian dining that makes the meal special. In this episode, Manilow talks with chef Tigist Reda of Demera — an Ethiopian restaurant in Uptown — about her life in Chicago, how she became a revered cultural ambassador, and why you won't need a fork to enjoy her food. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Minneapolis is at an inflection point. With off-year municipal elections just days away, Andrew sits down with Minneapolis property owner and community voice Jim Rubin, a featured contributor in the new documentary “Precarious State.” They trace how policy shifts since 2017 and decisions in 2020 reshaped public safety, downtown vitality, and neighborhood life—and what a course correction could look like.You'll hear:• The on-the-ground view from affordable housing in the urban core• How policing, prosecution, and city policy interact on everyday crime• Why low-turnout municipal races will set the city's trajectory for four years• A practical voter's frame: common-sense leadership vs. ideological agendas• Where to watch “Precarious State” (find it on our Resources page)If you care about Minneapolis—its parks and lakes, small businesses, safety, and future—this conversation is a must-listen. Subscribe on YouTube, follow the show, and share with a neighbor.Special thanks to our sponsors: Parker Daniels Kibort, True North Private Investments and A La Carte Creative Group.Support the showThe Andrew Parker Show - Politics, Israel & The Law. Follow us on Facebook, LinkedIn, YouTube and X. Subscribe to our email list at www.theandrewparkershow.com Copyright © 2025 The Andrew Parker Show - All Rights Reserved.

Top Global Startups features Daria Berman, Co‑founder & CEO of FUSS—the AI app matching everyone's preferences so group plans actually happen. We'll explore relationship tech, user behavior shifts, launching in Eastern Europe vs Western markets, and how FUSS achieved 50% retention in London with ⁠ULTRA.VC⁠ backing. Daria previously co‑founded Uptown ($360k ARR, 60k users) and rebuilt in the UK via the Innovator Founder programme.• AI for IRL: preference matching that removes friction and boosts follow‑through• Behavior & retention: what drives habit formation and repeat usage• Markets: lessons from Eastern Europe vs UK launch and pivot• Fundraising: pre‑seed in the UK—narrative, metrics, and momentumSubscribe for more global founder conversations from GSD Venture Studios:GSD Venture Studios: ⁠https://gsdvs.com⁠⁠#RelationshipTech⁠ ⁠#SocialAI⁠ ⁠#ConsumerApps⁠ ⁠#IRL⁠ ⁠#NetworkEffects⁠ ⁠#UserBehavior⁠ ⁠#Retention⁠ ⁠#PreSeed⁠ ⁠#UKTech⁠ ⁠#LondonStartups⁠ ⁠#EasternEurope⁠ ⁠#ULTRAVC⁠ ⁠#TopGlobalStartups⁠ ⁠#Subscribe⁠"

A third-generation New Orleans restaurateur of the famed Brennan family, Dickie Brennan is Owner/Managing Partner of Dickie Brennan & Co. whose restaurants include Dickie Brennan's Steakhouse, Bourbon House and Tableau (French Quarter), Pascal's Manale and The Commissary Kitchen + Market (Garden District), Acorn Café (Louisiana Children's Museum) and Audubon Clubhouse by Dickie Brennan & Co. (Uptown). Brennan is a cofounder of the nonprofit New Orleans Culinary & Hospitality Institute (NOCHI).The Connected Table is broadcast live Wednesdays at 2PM ET and Music on W4CY Radio (www.w4cy.com) part of Talk 4 Radio (www.talk4radio.com) on the Talk 4 Media Network (www.talk4media.com).  The Connected Table Podcast is also available on Talk 4 Media (www.talk4media.com), Talk 4 Podcasting (www.talk4podcasting.com), iHeartRadio, Amazon Music, Pandora, Spotify, Audible, and over 100 other podcast outlets.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-connected-table-live--1277037/support.

It's the last day to register to vote in New Jersey. Voters can head to nj.gov to register online with their drivers license or social security number. Democrat Mikie Sherrill and Republican Jack Ciattereli are the candidates in the race for governor. The general election is on November 4th Mayor Adams said he's trying to make life more affordable for new mothers and families, adding two new programs that aim to avoid shelter and homelessness. WFUV's Nick Verone has more. This weekend, thousands of people participated in a 5K walk/run at Prospect Park. The event raised money for children in Gaza. WFUV's Xenia Gonikberg and Sienna Reinders bring us to Brooklyn to hear how the event unfolded. WFUV's Strike a Chord public service campaign highlights local non profits. This season we're spotlighting organizations that promote environmental justice. Uptown & Boogie Healthy Project is a nonprofit that provides fresh food accessibility to New Yorkers. I sat down with the organization's founder, Judith Desire to hear more about its work. Host/Producer: Lainey Nguyen Editor: Robin Shannon Reporter: Sienna Reinders Reporter: Xenia Gonikberg Reporter: Nick Verone Theme Music: Joe Bergsieker

Uptown Voices: An Uptown Story is a multi-media exhibition in development designed to document Harlem's history through intimate large-format portraits and oral histories of residents who have lived in the community for 30 years or more. The brother and sister team behind the project, photographer Wil Pierce and curator Joyous Pierce, have launched an open call for nominations—inviting New Yorkers to put forward family, friends, or neighbors whose Harlem stories should be preserved.

One data center plan goes away, another moves in; CMPD moves to fight crime in Uptown; Belichick in trouble at UNC.

Step into Episode 181 of On the Delo as David DeLorenzo sits down with Charles Jr. (“Chuck D”) —an East Valley native behind Aftermath, Born & Bred, and the forthcoming Rosewood in downtown Gilbert—to talk craft, community, and why he wants people dressing up for dinner again.From first shifts at Tony Roma's to 15 years fast-tracking at Zinc with mentor Terry, Charles breaks down the real levers: concept, lighting, music, and a female-friendly vibe that draws everyone. The two get real on safer nightlife and DUIs, scaling pains from a 1,300→3,800 sq ft buildout, and what's next—an aggressive late-night push in Chandler.Chapter Guide (Timestamps): (0:15 – 1:02) Opening & Episode 181; welcome Charles.(1:03 – 2:23) Junior & nicknames (“Chuck D” plates; Delo's “Italian Stallion”). (2:26 – 3:01) Origin story—5th-gen AZ; Mesa/Chandler/Gilbert roots. (6:52 – 8:27) First jobs: Tony Roma's → Outback lessons. (11:41 – 13:29) Zinc years & discovering hospitality as craft. (18:00 – 20:07) Launching Aftermath in Uptown; scaling from 1.3k→3.8k sq ft. (22:41 – 23:48) Where to find them: Aftermath (Phoenix), Born & Bred (Scottsdale & Chandler), Rosewood → downtown Gilbert. (25:17 – 27:05) Mature crowd, safer nights; calling out DUIs. (39:56 – 40:24) Chandler goes late-night—food & cocktail specials. (40:33 – 42:27) Rapid fire: read minds, water slides, gold, flip-phone experiment. (45:06 – 45:28) Health: lift weights & bodyweight focus.

We are a podcast that often covers peoples' underrated comfort movies, and this time we finally tackle the long neglected Valerie-comfort-watch (and Jesse-Spencer vehicle!) Uptown Girls. If that's not a comfort movie for you, 1) why not, it's sweet and fun, and 2) we hope you take some comfort in the knowledge that we'll talk about a different movie next month. Probably.  OK, there's a non-zero chance this will just be an Uptown Girls podcast moving forward.

WFAE leaving Uptown; hometown hero comes of age against Panthers.

Hour 2--J&J Show Friday 9/26/25--Penny on his great roster, Memphis FB in driver seat, NFL+Southern Heritage & new Chic-Fil-A Uptown

Uptown Radio Broadcast May 15, 2025 by Uptown Radio

“The Turi Ryder Show” is hosted by radio personality, podcaster and author Turi Ryder. As WCPT's token mainstream Democrat, she's willing to say unpopular things, as long as she thinks they're true and useful. From constitutional law professors to seed savers, Turi will talk to anyone she thinks you'll find interesting. About Turi Ryder Turi Ryder is the author of She Said What? (A Life on the Air), and host of Turi Ryder's She Said What?, a podcast available on Apple, Spotify, iHeart, and other platforms. She's also a current talk and former music radio personality known to audiences in Chicago (WGN, WLS AM & FM), San Francisco (KFRC, K101, “Free FM”), Los Angeles (KFI, KissFM), Minneapolis (KSTP), Seattle (KIRO), and Portland (KGW). She lives in Chicago's Uptown neighborhood. Learn more about Turi at www.turiryder.com and www.shesaidwhat.net.

This episode is presented by Create A Video – Four men with lengthy criminal records are arrested for the murder of a 4-year old child. Another man is arrested for the murder of a man in Uptown during the lunch hour yesterday. Another arrested for murder in East Charlotte. And another career criminal just beat a murder rap. Help Pete’s Walk to End Alzheimer’s! Subscribe to the podcast at: https://ThePetePod.com/ All the links to Pete's Prep are free: https://patreon.com/petekalinershow Media Bias Check: GroundNews promo code! Advertising and Booking inquiries: Pete@ThePeteKalinerShow.comGet exclusive content here!: https://thepetekalinershow.com/See omnystudio.com/listener for privacy information.

We're recapping the 34-27 victory over Duke with head coach Jon Sumrall. An exceptional night in Uptown as the Wave rose to the occasion against an old friend, and the Yulman Stadium crowd was electrifying. Justin Berger and Mike Miller tell fans how to keep nights like Saturday going for months and years to come. And, Jack Tchienchou and Anthony Miller and the win over Duke and getting ready for the trip to #13 Ole Miss this weekend.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Shoutout to our listener Sarah for the episode topic request! This week, Amy and Liv are covering haunted Montana... and let us tell you, that state is haunted as hell. Visit our site: girlsgonespooky.comFollow us @girlsgonespookyContact us: girlsgonespooky@gmail.comStay spooky, babies!

BanterThe Guys talk about an unusual cooking appliance and how long is too long to keep snails in your pantry.The ConversationThe Restaurant Guys finally catch up with Robert LeBlanc, hotelier and restaurateur. They talk about camaraderie within the restaurant community and how that enhances the experience for all involved. The love of hospitality often goes back to their roots of family and experienced restaurateurs before them and that's how they navigate the inevitable challenges of the industry. The Inside TrackThe Guys and Robert find common ground in how they lead their teams—training staff to share their own enthusiasm and create genuine connections with guests.Mark: As I said to the team yesterday, pick something that you are just absolutely passionate about and talk to the customers about that and tell it from your heart and tell it from who you are and tell it from your perspective of why you like it. Nothing's more powerful than that.Robert: We have a value built on that. It's called, “Do cool shit and stay humble.”Robert LeBlanc on The Restaurant Guys Podcast 2025BioRobert LeBlanc has built some of New Orleans' favorite spots. His hospitality group, LeBlanc+Smith, is behind Sylvain, the French Quarter bistro; Barrel Proof, a whiskey bar; and The Chloe, an Uptown boutique hotel. He's also opened The Celestine, a French Quarter stunner with the cocktail bar Peychaud's, plus neighborhood hangouts like Anna's and The Will & The Way—each with its own personality.InfoRobert's grouphttps://www.leblancandsmith.com/Robert's NOLA recshttps://www.chaisdelachaise.com/https://patoisnola.com/https://www.galatoires.com/https://www.arnaudsrestaurant.com/The Martini Expo!Presented by the award-winning publication The Mix with Robert Simonson https://martiniexpo.com/Sept 12 & 13, 2025 @ Industry City in BrooklynJoin us for martini experiences with acclaimed guests (see martiniexpo.com)Restaurant Guys Regulars get a 10% discount. Subscribe at https://www.restaurantguyspodcast.com/ Our Sponsors The Heldrich Hotel & Conference Centerhttps://www.theheldrich.com/ Magyar Bankhttps://www.magbank.com/ Withum Accountinghttps://www.withum.com/ Our Places Stage Left Steakhttps://www.stageleft.com/ Catherine Lombardi Restauranthttps://www.catherinelombardi.com/ Stage Left Wineshophttps://www.stageleftwineshop.com/ To hear more about food, wine and the finer things in life:https://www.instagram.com/restaurantguyspodcast/https://www.facebook.com/restaurantguysReach Out to The Guys!TheGuys@restaurantguyspodcast.com**Become a Restaurant Guys Regular and get two bonus episodes per month, bonus content and Regulars Only events.**Click Below!https://www.buzzsprout.com/2401692/subscribe

THE Lance Jay Radio Network - Segment on underrated rappers

Shamus Toomey, Editor in Chief and co-founder of Block Club Chicago, joins Bob Sirott to share the latest Chicago neighborhood stories. Shamus has details on: Ridge Avenue Reopening After Months-Long Closure, But Work Begins On Clark Street, Ashland: Protected bike lanes are being added to Clark Street in Andersonville and Uptown, and Ashland Avenue is going […]

Robert Loerzel and James ‘Andy’ Pierce join Rick Kogan to talk about their book, ‘The Uptown: Chicago’s Endangered Movie Palace’. Robert and Andy discuss the importance of getting this book out to the public and share people’s stories about The Uptown throughout different periods of its prominence.

A number of small fires broke out across San Diego County on Friday as the county grapples with higher than usual heat and fire danger. One day after his brother Erik Menendez was denied parole, his older brother Lyle learned that he will also remain at Donovan Correctional Facility for now. Parking meters will be extended by at least 2 hours and into Sundays in Pacific Beach, Mid-City, Uptown and Downtown.   What You Need To Know To Start Your Saturday. 

Famous for its grandeur and colossal size, the Uptown Theatre celebrates its 100-year anniversary. Over the last century, the Uptown has seen its highs and lows, but after being shuttered in 1981, the “palace” now needs a $190-million revamp. Robert Loerzel's new book, The Uptown: Chicago's Endangered Movie Palace, relives the glory days of the theatre through photos and archives. Many, like Loerzel, hope the Uptown Theatre will be restored to its former purpose and splendor through the help of donor and state funding. Reset hears more about the Uptown Theatre's history and future from Loerzel, Preservation Chicago executive director Ward Miller, and David Syfczak, caretaker for the Uptown Theatre for the last 30 years. For a full archive of Reset interviews, head over to wbez.org/reset.

The Uptown Theatre has sat vacant for 44 of its 100 years. Efforts to reopen it have come and gone. A new effort carries a $190 million price tag, with funding yet to be secured. “Uptown is missing its crown jewel,” its owner said.Host - Jon HansenReporters - Mack Liederman, Madison SavedraRead More Here Want to donate to our non-profit newsroom? CLICK HEREWho we areBlock Club Chicago is a 501(c)(3) nonprofit news organization dedicated to delivering reliable, relevant and nonpartisan coverage of Chicago's diverse neighborhoods. We believe all neighborhoods deserve to be covered in a meaningful way.We amplify positive stories, cover development and local school council meetings and serve as watchdogs in neighborhoods often ostracized by traditional news media.Ground-level coverageOur neighborhood-based reporters don't parachute in once to cover a story. They are in the neighborhoods they cover every day building relationships over time with neighbors. We believe this ground-level approach not only builds community but leads to a more accurate portrayal of a neighborhood.Stories that matter to you — every daySince our launch five years ago, we've published more than 25,000 stories from the neighborhoods, covered hundreds of community meetings and send daily and neighborhood newsletters to more than 130,000 Chicagoans. We've built this loyalty by proving to folks we are not only covering their neighborhoods, we are a part of them. Some of us have internalized the national media's narrative of a broken Chicago. We aim to change that by celebrating our neighborhoods and chronicling the resilience of the people who fight every day to make Chicago a better place for all.

When a woman is gunned down in a parking deck in a trendy neighborhood of Dallas, police uncover a web of jealousy and stalking. How far will one woman go to get the life she wants? This podcast is hosted by ZenCast.fm

The clock is running out for Chicago Public Schools to solve its $734 million problem, as the district has until Aug. 13 to release a public budget proposal. Axios Chicago's Carrie Shepherd and The Triibe's Corli Jay are here discussing the available, yet not so popular, finance options CPS is mulling over. Plus, investment in the Pullman community is seeing real returns, Uptown's Weiss Memorial Hospital could shut down this weekend, and the Bears preseason kicks off Sunday. Good News:  Chicago Palestine Film Festival's “Art Under Occupation”, Dorian Sylvain's “Raised In It”, Chicago Shakespeare Theater's “Billie Jean”  Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this Aug. 8 episode: Paramount Theatre Overlook Maps Window Nation Chicago Association of Realtors Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE