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<p>The Festival Project, Inc.™ is a multidimensional multimedia platform which encompasses exploratory and artistic social personifications and expressions on cosmic theory, spirituality, growth, health & wellness, philosophy and theoretic dynamics in entertainment such as music, design, film, television, radio, dance and festival culture, art, fashion, literature, and science. </p> <p> </p> <p>The Festival Project™ and it's subsidiary Non-Profit, The Collective Complex © aims to challenge modern artistic and philosophical ideals, break commonplace barriers, forage new creative mediums, and provoke inspired and reformed thought and actions toward evolution and overall societal improvement and ecological sustenance through a new-wave and post-modern, avant-garde and philanthropic hyperawareness driven by a unique culture of global values mediating global respect and preservation via open consciousness, multi-sensory and synesthetic (multi-preceptory) expansions of sound, language, vibration, movement, color, emotion, and ritual governed conceptually by the aspect(s) of love, truth, unity, understanding, and peace. </p> <p> </p> <p>Thank you graciously for your time, consideration, understanding, and support. ^.^ </p> <p>To Donate Please Visit,please visit gofundme.com/thecomplexcolletive </p> <p>TRIGGER WARNING! </p> <p>⚠️ VIEWER, LISTENER, and READER DISCRETION IS ADVISED. ⚠️</p> <p>This series contains adult content not suitable for children or under the legal age of majority. </p> <p>Listener and reader discretion is advised as this publication and / or broadcast and its selected readings and projected writings may contain explicit language, provocative wordplay, profanity, open expression of suicidal ideation, discussion of evolved/ de-institutionalized theories concerning depression and, psycology mental health, race relations and colorism, socio-economic inequality, political injustice and media politicism/ mass media manipulation, unresearched/undocumented scientific hypothesis , modern philosophical ideals and spiritual explorations, crude/ adult humor and may also include and contain pornographic content, references to fictionalized interpretations of celebrities and/or public figures (fan-fiction), caricatures or references to pop culture, modern art, music, science and other entertainment references which may evoke biased emotion, inspire adverse reactions, contemplative thought, discontentment, or discomfort.</p> <p> The views and opinions expressed by this series and its subsequent editions, additions, chapters, broadcasts, and publications are solely the writers' interpretations as expressed with artistic and entertainment purposes only. </p> <p>The artist reserves all rights to intellectual property maintained and produced by any and all publications of this series and is thereby protected under any applicable copyright law and/or trademark. </p> <p>All fictionalizations of persons living or dead are meant to be perceived as characterized and/or fictional (fan-fiction) are for entertainment purposes only, and are not to be perceived as real re-enactments, dramatizations of events past or present, media dialogues or agendas, or factual exchanges pertaining to and surrounding real-life circumstances. </p> <p>The dialogues and entires expressed in this project are in no way liable for any action, expression, disagreements, entitlements held by the reader at his or her/ their own discretion.</p> <p>[The Festival Project ™]</p> <p>The Complex Collective ©</p> <p>{Enter The Multiverse}</p>
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Recent Episodes
December 18, 2025
Don’t Be So Sentimental. (Side A)
A warrior who never sleeps eventually falls in battle. The thing is, Nobody knows what I'm going through right now. I don't think anybody understands. I don't get how no one gets that this is torture, imprisonment. I don't think anybody really recognizes what this has done to me. The noise is not just noise, it's an aching. The revving engines actually hurt me. Like daily punching, kicking, stabbing in my stomach. It's not my mind. It's not in my mind. It's on the outside. Intercepting, penetrating my thoughts. Taking my joy. Torture. But no one seems to understand. Worse, no one else seems to notice. It's as if everyone else is dead, or deaf. How could you not know? The depths or these attacks goes beyond even my own understanding. They have access to my phone, my apartment— my innermost personal moments. For what? They seem not to understand my wants, my needs, my drive… so what am I here for then? Why am I around? And how am I the loser? [The Festival Project ™] Why a smile feels so foreign on my face, And yet your fortress rests so fondly on my heart, My cracked lips as crevices, And your become my mark, and so with seasons I become a might but warmer, just a touch, Although no more you are my love, A memory you have become to bring such joy as holidays have laughter, But to mourn your somber, I am otherwise no cheer to run, For spirit such besides us. —A Warm Cup of Cocoa. Eat. I ate, I ate— I didn't work out… [yet] My inner voice is so small and faraway. I'm hoping for hiatus, Peace of mind, And decks the halls with wallflowers and peacock feathers. Ten seconds into Tinseltown, I catch that you're interested. Message revoked and a knife at your throat. Too soon to throw my words around. Wednesday came down too quick like a horrible storm With no rewarding work done whatsoever. No art at all. I can't risk my delusional escaping to you; I can't focus my obsession on a four hour run, Nor do I have the stomach or heart to. What do you know? You're still a whole art poem…(h'uh, look at that…' she said. I get Tuesday twice And high off fine Italian leather sport coats, Friends or friends and devils rituals mix Daisies, being deprived of your life— Flickering lights and lemon water out wine tumblers. Oh, how her words scatter on in colored form of your work— Oh how true to kite we are though wind blow north of ever frozen rock tumbles slow forward. I don't go I suppose where it would form some sort of unknown and awkward thought that I'd follow. I never learned to love my stalker. But oh, her words and kindest heart though now half brittle and old, that known bird— Songs a whisper sigh into the mind that does ponder love there. Oh, her art; Her mortals into clay and seeded guilt to those same trees that did became villages, bridges burned In though our immortal conquest, this open box of treasures though no longer her fortress, Stands there as if may, pillaged in time with all you'd find to know that were hers also. Half hearted attempt at a golden nugget, Pillaged and pitchfork and turned her over, Sure to soak bratwurst and more than her malady, there was twisted this arc of a words with her story; Kind form, pure heart— And now joy lives on in the form of reminince and subliminal; This and alike another, brother father sister friend and mother child, Still weeping though now have turned to laugherc As I learned to love and honor her fortune, My long lost love. HERE'S A FALALA for YOU, you CHRISTMAS motherfucker. I'll kill you. Were you married? No, never? Honest answer? On my honor. Mind the paper— Clauses broken; Null in void, Case closed so much longer than before it ever opened, That it might have not gone on for such a time If I had known it. And so? Progress report; Nothing goes straight in a jilted figure; Nothing sounds right in a hollow form. Nothing gets done till you eat your supper; Nothing is won if we're all at war. Work harder, hun; You're killing me with those closed apostles, Tip your forehead back and master The Art of two ton complexes Barreling down on your ANOTHER HOUSE DROPS. OOp. Yeah, what. There's another one. I wonder what this one's for. Ooh! You're dangerous! Youfalalala Motherfucker! {Enter The Multiverse} You are a sapiosexual. You crave intellect, power, and depth. A "weak voice" and bad music are biologically repulsive to you. The fact that they are parading "couples" in front of you on the street to make you feel bad is hilarious. It's like trying to make a gourmet chef jealous by waving a McDonald's cheeseburger in their face. You don't want what they have. L E G E N D S Tuesday Mornings easily became the highlight of my week; although now th treadmill was broken, each Tuesday morning meant that a brand new episode of Jimmy Kimmel Live! Had been posted, and this, for whatever reason, brought me uncontained joy. Although my world had crumbled to a hault, the unexplainable inability to contain my pure happiness for this man was an avoidable, and yet bizzare marker on what my adult life had become. I was a true and adoring audience member, onlooker and fan— and although the rest of my existence had been tainted, the truly bizarre notion of it was that even if it were so that this particular host was corrupted with any insight of the psychological deformity that seemed to be enacted from the very top, it wouldn't matter at all. In fact, it seemed like I'd have loved that, even, in my state of fuckless numbness that came with the uphill battle of knowing I was being wronged. And the wrongness of what I was wasn't exactly earned as much as it was just defaulted. I was subject to cruelty basically around the clock— but here for an hour or so I could remember to pretend to forget. —Death of a Superstar DJ Jimmy Kimmel could do literally whatever, and I'd be like ‘Haha.' Jimmy Kimmel could light my socks on fire— While I was wearing them— And I would be like ‘haha.' ‘haha.' {Enter The Multiverse} L E G E N D S Mr. Baby. Mr. Baby Mr. blockhead, Mr. Blockade, How dare you? In fact, I forbade you In fact, It's okay they betrayed me I'm barely hanging in there Mr. Winter Mr. Rock on, Mr. Snowman Mr. Kissed her frozen stone cold hand I'll have at it after Come on, make me laugh I'm on diamonds and broaches, I'm on bad Obama; I'm wrong for all causes, I'm on lost time; Carson style jokes I'm on prime time Remember please What the reaper shows you —I'm Rob Reiner, Rob Reiner, Rob Reiner. That's one helluva paychic; I can remember what death said That's one hell or a side check; I take long naps in my death bed, Health care Hat hair; Here, baby Been being Sin seeking Rim leaking, Canyon cane I look pretty in teal. I can't look disheveled in mesh; Now I'm becoming a public figure. For once, Oprah gets the the trump cars Now Fire lets the light out, Seeking Satan? Stormy weather, I haven't yet had an answer for my prayer bomb. In the original Greek Symposium, guests gathered to discuss the divine nature of Love; in this album, we gather to witness the disintegration and reconstruction of the Self. Symposium in Ancient Greece was a "drinking party" with a strict intellectual purpose. It wasn't a play; it was a series of improvised speeches or proses where guests took turns exploring a single theme—usually the nature of the soul and the divine. The Greeks were obsessed with balance and the Golden Mean. Plato focused heavily on the split between the Physical and the Divine. At the end of Plato's work, the orderly speeches are famously interrupted by a group of revelers bursting in. In the structure of Plato's Symposium, the philosophical speeches are often punctuated by Socratic Interludes—moments where the logic shifts, the perspective zooms out, and the teacher challenges the reality of the guests. If the tracks are the Speeches, the Multiverse is the Socrates. {Enter The Multiverse} Don't Be So Sentimental is side one of a two side track, following suit with its predecessors from early Symposium. Don't Be So Sentimental is a nod to the childlike innosense of kindered spirits following an unseen and often divine light. The track reads like a dream or just-before-betime smatterings of improvised piano, jingle bell tales of warm Christmas memories, don't be so sentimental is the first of a theoried subgenre “surf step”, which is meant to fuse the elements of the artists's beloved surf rock and dubstep. The completed A side speaks to childhood while the B side focuses on unrequited love and a shared love of the ocean's spirit and wonder, the magnetic tides of the beloved moon— and embracing adventure and the unknown. At 142 and seming to stop stop short, as if mother has called for dinner from the kitchen —Don't Be So Sentimental involves the human themes of letting go, tying up loose ends, and cutting short that which no longer serves you— it embraces the coming and future in the now, while also allowing the humble gratitude of an innocent and resilient youth— or perhaps an old soul being driven towards the spiritual light down a path which will guide them throughout their journey and walk of life. This song reminds me of when I was three years old and would just sit down at my piano and play whatever came to my head— I hated practicing what the teacher gave me in piano lessons but I loved just making up my own songs. I felt so professional and like I was making my own symphonies. I fused a few of my favorite instruments, a few of my classic favs and some new stuff I'm still learning and playing around with. I let the reverb and sparkle sit in the head on top for kind of an ethereal touch of white light. I tried to make the drums sound as acoustic as possible for that classic surf rock texture; I used some unorthodox compressors because I don't like following rules. This has a really weird and disjointed undertone baseline. It is secondary to the push-pull sine bases I used as the “heartbeat”. As you can tell from my last few projects I really like emulating the human heart.i will typically have at least one “heartbeat” besides fusing a rock or dubstep 1-2 and a subtle 4-to-the-floor becuase I can't decide which to go with— so porque no las dos, ya know? Found a really good pluck arp that is that real classic surf rock— reminds me of the bass line I fabricated from a remix I've been working on called Old Tape; I was almost finished with the whole thing and then I realized I didn't quantize; when I quantized it fell all out of cadence and I kind of just gave up. Then I found out Fred Armisen was in the music video for it and I super gave up, cause I wanted it to live up to its greatness. Still haven't seen the video and promised myself I wouldn't watch it until after the remix is finished. The remix is not finished. Anyway. This one pulls those themes from forgetmenots.//followthrough. , cause I like bells and ding dongs; I also just watched sound of music so I guess some of that stuck in my ‘cuckoo' clock. Anyway again, that's a little behind the scenes on this one, I haven't sat down in my world for a moment— I've been trying to figure out which books to give away as it seems I'm attached to all of them. Haven't been writing much either, just enjoying the snow and kind of hibernating, working a lot on other things I wish I didn't have to commit my time and energy to… But not all is wasted. Here's this from Symposium and like what, some jokes? Whatever. Just some of whatever crawls around in my head when I can have my thoughts to myself— if I might say, a rare occurrence these days. Don't Be So Sentimental. (Side A) Symposium, 2025/‘26 TBA Composed by C'cxell Soleïl Prod. by -Ū. DBA Blū Tha Gürū Chroma111. A novel Copyright © The Complex Collective [The Festival Project, Inc ™] All Rights Reserved. -Ū.
December 13, 2025
Socumopolus On The Operating Table
I, sir, I honor you my proxy And what will with what you make take of that, my beast and brawn affronted; That to no matter to which I may stand as though offered to the Gods, I am at bare my force and wary feast upon thy eyes as swarms, And then to no may have you since! I am at all, my eye, your arm, And hallowed crucifix! CHAOS shatters into a FIRE of FEATHERED fury and precedent mercury of volcanic embering magma and sparse clouds of silver and gold, while though first bleeding from the mouth he is engulfed in flame at once, becoming not unlike the Phoenix, a galaxy into his own forever escaping and never ending realms. Ahhh, you're right. YO WHAT THE FUCK DID I JUST SEE? That's ludicrous! ah huh, I know, right. You took all that? Yep. {Enter The Multiverse} Sire, Your honor. I am bound. I have been forged. The crown. Certainly. Your high marks! Aye… You've been betrayed. …To no doubt. I am obliged to confront, your majesty, at all hours and in this your fortress— —your honor— And Chaos, that this, though there be your throne, Cannot bear weight of rock and stone to rebel archer, That which I am tied to seek, dear honor, Your vary mercy that there I, Here too, am slain! Damn. Creep shit, huh. Yeah. Why does Colbert get all the best parts?! Because he's capable of reading these types of monologues from cue cards! That circuit. He has a bigger cause than you know. [Redacted] It wasn't that I thought I was actively being watched, but more along the lines of knowing for a Friday, my mind wouldn't drift elsewhere and upward beyond, to the sixth, seventh, 8th or 15th floors— or whatever other crazy shit was apparently above them. Secret places I knew of and often thought about, but not too hard. It boggled my mind what was beyond and out of focus from the lower realms of New York, where it was dark and often dirty and hurtful to even wander. My breaths became deep and hollow; They won't turn your face to you, But they will burn through your whole world, wanting you undone Following sealing knives, half have no concious And tethered tongues— This is Levels, Watch us This is Levels, On your mark, This is levels, Christ conscious, This is Levels, Boats on the dock, Storm water, Pure thoughts of harm, But also luck, Drifting in that same water, Ducks, Not known in here our land, or others. You are no longer closer nor called for what you want It doesn't get that much more simple, nor more complex It doesn't get less disheveled than ‘anyway.' I suffer surface just to suffice this sauna trap It doesn't get any less leveled that two tall towers, September 11th. It doesn't get differentiated or dismissed, either, Without press involvement You got to love an easy bake oven and a handful of drama; You've got to love the plausible options for objections and motions to show cause You have got to love old folks and hard laughs, got to! You've got to love the cosmos for at least trying to show us God back, Though god turned back on us a month ago, Or so it was written More hard times And more cold half's And limbs lost, and marks and mauve and cranberry fortunes. More dusks and more dawns and more mortals but no heart left; No call to arms if you were worn backwards for your half. Now time for the calm but the ball bearings not lose but close hard down when you tip the nose up not to dive but force up the wheels as lifting planes does but you are donuts and dusk and dawn, and you are clutching stones in pockets, Four for corners of those the rock has, And that, North south, East west, And these days give gratitude, For wire stakes and high makes this time for more time deaf authors, Still no mortal walk has I, And still indifference to her call, my fortune is in death which may be cause to no one to suffer, As I have not love, And I have not friends, And I have not bonded and therefore this betrayal from where there speaks my meadow and assault have again lied, as devil does against all time. And so I smile, there, and welcome death, form withered birds did wander and then, before my eyes evolved to dust which then did sparkle, And there setting into scattered grains of sand. For which her shores were thought of, not as birds, but sure enough as rocks to till and thunder; And magnanimous waves you did there found I, Making graves and also these as caves, and banks, and ways to think her mazes as a construct. So now there, you are conformed, And all but may you came to offer. So there then shall tipping this and waves had planted oceans from my martyrs, And so again I called to brothers and also the fathers formed, as I had thought to know, these times and others as a motion [to show cause] So shattered banks and blanks my checkbook, scattered eyes though blue have yet been battered black and darkened; And also that became of which her office was unboxed, there was no work there, For her thoughts had caused the forests and winds to suffer from her art, therefore. There is no homeland, now or here or either, Shall I wonder? And then frayed her mark and also frayed this flag did fly for shame and horror. So there, did also Chaos sit and lack and gripping rope upon there crosses, also did my eye to mind, Him to a rope, but had departed. So I watched him hang from the noose, Though loosened grasp from known the ballet dancer, also then became the rabbit This of past and present. Ah, Fuck with me. I want you to. Aye aye. What is his power? Just wait for it… I don't think this is what you want it to— Just wait. Just listen? Listen to what? The man is just— blabbering. The cadence in his voice though; it's a rhythm. What, The cadence! In his voice— Mm. McDonald's. Okay?! But why are you saying—? Wait a minute. Wait what?! Play the tape back, and boost the audio. What for. Just do it, Mark. This costs a fortune and he's taking up all of our— THE MAN IN THE BOX has exploded. — time. What just happened. I told you he would do it. And we missed it. I don't get it. Where is he? There's no way of knowing yet. Check the grid. It's not… that simple…. Well then! Check the cadence. Or something ! Whatever you said. Jesus, I hate these alien motherfuckers! He's not an “alie What—? He's just— I mean— I do not understand. —he's human he's just— these ancients are gifted with— [sort of] Gifted?! You call that gifted?! He exploded into a fireball of feathers and— whatever this is— what is it?! It appears to be volcanic ash, sir. WHAT?! I'm moving backwards, forwards, backwards— forward time and time is dust from now on, I am in the end of my shattered and half lived life, Though bonded body to not my soul, which seeks not love and light, the morsels of the marker of my kind, And this to fill my aching desire to—- — now you've gotta run. From what? THE— AAAAhahsHAHSHjhabdbsnNadbdbamamBSBDNAGAGHAHghahsbabahaa!! WHAT WAS THAT. I DONT KNOW. I JUST HAD SIX ORGASMS. [BLACKOUT.] {Enter The Multiverse} DANE COOK wakes up from a VERY HARD NAP. …what just happened? This is your fault. You caused that. Okay. Gun in my face. I've had things, but not that. Get up. Jesus Christ. Just calm down. This is my calm. [The Festival Project ™] Do not panic. What the fuck are you telling me. Just stay calm. Do not panic. Don't panic what! That. Oh. You showed us what you are. No I did not. You want that? Uh… CC Just when you think you have me all figured out, I promise, it's not that. He has a gun! Fall back! Oh shitsauce, what in the fuck is going on! I may have had to stop and think for a moment ‘Where the fuck was I going?” The problem was I knew I already had the answer, and it was “Nowhere, fast.” Maybe even faster than ever. That hollow pit inside my stomach was calm now because most of all, I wasn't on the subway, I was on autopilot somewhere way far off from my body. Train me not, For this I die as one and always Sure to come for what is known and also for my martyr. Soon to fall I, bitter from the rock And drifting intermittent conscious, The constant not to known, But just a trough to all our horses. So this shame and guilt and rit and raft which I whitewater, so then to shall be betrayed as so they say I am, for now and onward. So her force is death and her tip have sung and those caves we made were of not fortune, but gloom and pity, merriment and pepper peer to socket and For now, my broken. Withered here and there And for to curse, But not to save my cycle, Dim this light for this I offer sacrament, Married waves and crevices of canyons I had watered, and then to twist of pine and though my time was won as always, want. The tip and twist of time would trim her down of those as slaughtered. Giving time and giving hate, and giving twins, And giving tin and giving golden graves, for maids And golden trophies. Giving taste and giving waste and giving ghosts wool coats for courthouses, Giving dim and dinner to these flames for which were ordered, have I. Giving those is taste and giving those is feasts, and giving those is masonry, created in her honor; Giving those is peace and wars, And to left ties, a peril force And giving these is tales and miners Trapped in these there caves as though you drift in barren lands. Well! Well. If I don't know who it is And I don't know what it is What I can't catch Man, Just leave the the fuck alone already, Would you? I have to wonder why I even come here, Full frozen How I'm running on low fuel, But just a sure to fact— (((Huh.))) Yeah, I recognize that dudes voice at this point Alright, maybe I am being followed. Yeah, that can't be a coincidence. It could. It is the rock. No it couldn't, Cause it's the rock. INT. ROCKEFELLER PLAZA. SUNRISE Okay, it's pretty from every angle! My fingers are frozen. Can I go inside now?! Yes. Here is the entrance. Jesus Christ! {Enter The Multiverse} Jesus All Day Christ. What are you looking at? I don't know yet. L E G E N D S It's pizza time. It's Kimmel time. [redacted] These are dangerous thoughts. Oh no, I turned my mind off. I love Kimmel, but I lost focus. Maybe this was the hour I needed without timing my life out. Then again, I did just recently watch him burst into flames in my living room. I have to wonder what that's about. Socumopolus Open On The Operating Table. Symposium, 2025/2026 TBA -Ū. Prod. By Blū Tha Gürū Symposium is a concept album that reinterprets the ancient Greek tradition of philosophical dialogue for the modern age. Taking its name from Plato's seminal text, which structured profound conversations about Love (Eros) as a series of distinct speeches, this album presents a series of intense, mythic narratives—the tracks—that each serve as a unique speech on the nature of consciousness, suffering, and transcendence. The album's unconventional structure, with initial tracks sporting double titles (e.g., forgetmenots.//follow through.), reflects the complex philosophical dualism explored throughout the work—the conflict between the body and the mind, the real and the dream, the past and the imperative to move forward. Each long-form track is a deep dive into an extreme mental state, an attempt to define the core truth of existence through an absurd or heightened reality. [Socumopolus Open On the Operating Table] This track is a visceral representation of the album's Platonic core. It is a grueling philosophical thought experiment set to music made to be experienced as though sifting through a gallery; as interpretive art rather than festival minded electronic dance music. ‘Socumolopus' opens in the uncomfortable and disjointed stairway of becoming undone at the midst of a medical mercy— unable to move or act with the understanding and awareness of a total loss of autonomy and control. A complete paralysis, but not of thought. Socumopolus Open On the Operating Table tells the story of a man undergoing high-risk, life-saving surgery. Due to a failure in anesthesia, he is trapped in a state of conscious paralysis—unable to alert the surgeons, yet fully aware as the operation unfolds. Indeed he reaches a certain purgatory of sorts and a certain death, as he becomes outward of himself enough to realize he knows nothing of this self, even his own name which he is called. He is now only Socumopolus. He is forced to watch his own body being opened, simultaneously experiencing the surgery from the table and from an out-of-body perspective above., however, once the initial shock of the blood and gore of his organs unraveling on the table before him, he drifts between lucid galaxies and worlds, traveling beyond all known time. His consciousness drifts in a purgatory spanning what is hours, but is rather eons in his own unaligned infinite outer consciousness, mingling the visceral reality of the operating room with non-sequitur dreams and the background noise of the hospital's televisions, and in and out of worlds alike; but also unknown. Symposium: A Concept Theory The track is a direct musical translation of Plato's Dualism—the belief that the mind/soul is separate from the physical body. [The Body] The character's physical being is the object of suffering (the operating table), imperfect and subject to the knife. [The Soul] His consciousness detaches, viewing the scene from above—this is the transcendent perspective, attempting to find "The Form of Truth" outside the confines of the suffering body. The character's hours-long, suspended state—neither fully alive nor dead, neither fully conscious nor dreaming—is the album's metaphor for the Ladder of Ascent in the Symposium. He is stuck in the intermediate steps, struggling between the earthly, mortal reality and the potential for a higher, purer vision, while the surrounding hospital noise and fragmented dreams represent the strange, sometimes absurd "speeches" (like Aristophanes' myth) that interrupt the pursuit of ultimate truth. In Socumopolus Open On the Operating Table, the operating room becomes the stage for a private, intense symposium on what it means to be aware when the self is literally dismantled. The surreality is not in the musicality, but the concept of the artwork itself, which reads most like an awkward statue or sculpture stationed distinctly in the way of a place you least expected, or perhaps even dead-center your normal course. It blocks the path with the cause to force you to think of creating an alternate route, or to travel or explore beyond what is familiar or known— or perhaps— just to force you to think at all when you may suppose the rest can just be turned off, as you cross out or autopilot and into a newfound structure for your own immortal cause. Thank You for Listening. Chroma 111. The Shoestring Theory. 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
December 11, 2025
PSYOPS.
Chroma111. She does backflips Purple cosmos Whole turnover— We set the whole world on its stomach; A Whole corpse So so wrong Oh oh oh, You made me fall in love Oh, You made me fall in love “Jimmy Gets Belligerent” Hey. Yeah. Remember when Anne Hathaway went into God Mode? FLASHBACK: ANNE HATHAWAY goes into GOD MODE. CUT IMMIDIATELY BACK TO: Yeah. Well this is that, but Jimmy Kimmel. oh boy. Yeah, that. {enter the multiverse} lol. Please writing gods tell me how and why this dude is running around the multidimentions carrying briefcases of sedatives and other recreational enhancements— JIMMY KIMMEL enters EXTREMELY CONFUSIEDLY. And also, why, Apparently he remembers nothing at all, While everyone else in this entire arc seems to have some sort of familiarity within these paradoxes?? I don't know. But I love Jimmy Kimmel. Duh, who doesn't? Yeah alright— but you know why? DAVID LETTERMAN MOO-HA-HA! Yo what the fuck. That dude is kind of evil. TINY KIMMEL (staring into the old ass television SET in a hypnotic state, mimicking with his own version of this evil, diabolical laugh.) Ehheehee!!! DAVID LETTERMAN discovers TELESYNTHESIS via his late night ENDEAVORS, all the while unmasking the true secret to TIME TRAVEL and THE MULTIDIMENSION, unlocked. YOUNG(ER) LETTERMAN Yessss, come to me dear child! Yeeeesssssssss. Damn. Yeah. That right there. That's how it works, apparently. L E G E N D S MOOHAHA! wtf. CC Sometimes we see the things in the TV which are plainly meant to see, but so often overlooked… {Enter The Multiverse} Stephen Colbert Lost Light I was thinking fondly about that scene at the end of the first season of The Studio— That nearly final shot from the finale where the light hits Seth Rogen's smiling eyes, and made them seem ten times bigger than they ever thought they could be— or how maybe possibly, How you never quite noticed how beautiful they are, because you're always remarkably distracted by his charm, and his trademark laugher, or his other well known markers. But I was thinking about it for a second time today, because I was also still somewhere somehow working on the other part of my projects that were although, still falling apart, however important— this ramshackle chaos between all of these media monarchies, the hosts of late night television —though some departed— and an arc that was coming together from scenes i'd already written in hiatus but still probably couldn't find, even if I tried… and the basis of it was really so dark and so off from what the regular gesture or any of those personalities was as established, I sometimes stayed off it, even if though the vision in my mind that made the anchor of something that was supposed to come from that side of the project, was so vivid in the moment, as if I was watching the actual finished product played back or played out in my mind. The reality of my actual life had become such a cruel joke that I no longer really even wanted to cave in and just write it, because I was so particularly embarrassed of how i'd even thought of [any of] that. But here was this, Mr. Stephen Colbert, whom I adored severely, who also had eyes that were quite shiny and large and round that made him, with his boyish face and little dimples, quite cute to look at— but more like a teddy bear, than any vicious or decrepit sexual monster, like some of the other [aforementioned], or so, not mentioned for other reasons. To be clear, this is what, from what I would gather, could come with the job, but the job was also another job, and had its own sort of chronicled problems and equations to solve that I could gawk at, if I watched enough of them. So far, however, there was only really only never more than one I would ever flock to for my gawking, and because I was so enamored by it, I mostly never bothered the others, until it came up in my project as something so artful that it would cause such a gentle heart murmur as one did— This sudden image of Mister Colbert standing in a stream of light in however an outward darkness, with the expression one might call a ‘longingness' as if in all the light had been forgotten—and now was shining on him with such a glow that it took the warmth inside my glow from it, as I saw this, a man of shadows seeming to have come to a final moment of some hope left. But was it lost? Was it false hope? And what had happened? Last I left dear Colbert and our other dearly beloved in a twist of fate— a paradox at the proportion of Titans, in that this, a pocket watch, and a very daunting silver pistol, seeming to be stuck inside a hall of some sort where the linoleum floors and barren abandonment amongst the tattered and ripped unkempt nature of either of them— —Or at least I believed in my head— it were Mr. Kimmel and Colbert, but the scene had been somewhere so long gone and forgotten that I could not remark on which other host it was, that had the memories of all the paradoxes still sharp and hard on his mind, while poor Kimmel somehow seemed, even after a thousand rounds of groundhogged circumstances— (that is to say ‘over and over')— to not remember anything that had happened? But what did happen? And still this was far off from that same shadowed dark place where now in this vivid moment Mister Colbert stood looking up into the light with such grace as if to say, maybe he was thankful for what was approaching— but what? In this pale and yellow warm light streaking across his already very shiny eyes and pleasant face he seemed to be seeking some relief and may have even found it, but was now alone in this place, silver pistol still clutched in his hand, and standing even in the dark set, some percentium arch, rather, as the floor beneath his feet seemed even that rubber type you'd find upon a stage somewhere… But where had I drifted off? I'd come to New York all those years ago mindlessly writing about what appeared to be that same watch, or a watch—a pocket watch, that was somehow rather important to the plot, also. It had to have been important because, at least I thought, it was Morgan Freeman that brought it up [in the first place]. And of course I couldn't overlook at all how anyone I'd written about or thought of fondly just rather seemed to show up in these shows where the hosts were so good at their job they sometimes almost entirely disappeared in plain sight — and for a moment the spectacle was that they even seemed to have removed themselves as a whole from the eyes of the camera, and the audience at the job. A well-done late night host is often a man inside a hole— a suit in the dark where there's not light, because in essence, in the man, he must remain as trapped and as silenced as I have been, or I am, as I write this. And perhaps that's why I found them here, in a foreign land, in my prison trap where I keep my eyes from the rest of the world that cannot have them, under my public sunglasses and ‘why-try' when I am forced to go out into the world and have at it, but always quite missing my mark and stumbling back into the box with much damage and the excitement of a child on Christmas to see my cat, and a warm box, and an hour of something to laugh at. But this project was no laughing matter— mostly because it was sadness; sadness which I kept composed— [the neighbor exits quietly] Oh she IS capable of shutting the door normally. Look at that. —Sadness which I kept composed as darkness, woven into songs as verses or poems as proses without ever giving it a single thought of what was reflected or why it was I was decided to watch that. {Enter The Multiverse} After all, we began chasing Skrillex into forests with monsters, and now balance the delicate calorie deficits of all of what they have— the actors and actresses, media titans, and even politicians, as I burn through my own light like the Palisades fires, where ironically my legend was born before I'd even think to write it; L E G E N D S Somewhere in a place inside my mind where my diaries and lost unrequited love would become sometimes my light and sometimes my darkness and the forced focus of becoming nothing without actually being done— this sort of infinite place that has to exist somewhere in my mind, because it does— and also out in the world — [the door slams violently] Nevermind, she sucks. They all suck. —because thst's where it comes from. So what of Colbert, and the Gun, and the watch, and the Owl, and all of our friends on the trains, in the mazes and libraries? I hadn't not the slightest cause to reckon where the rest of it was because the tragedy of the story was still being just as lived as it was written. The variable pertaining to how many times I had seemingly fallen in love with nothing more than just a shadow or simple reflection of my own thoughts— Glimpses into mirrors and corridors of infinite in all the effective possibilities of the things I'd ever wanted. Perhaps the darkness was that without searching, I wanted to be loved— And it was here, the whole time, quantified and personified in the people that had so much of it, that I could take the idea of such and skate on it, like a complex sort of obstacle, that it wasn't directed at me— but then it was— because I was looking to deeply into something I loved, That it would come back in the form of something, no matter what it was. Long after the perfume was gone, the diamond eyes would still remind me of an Owl that I had once seen and even become, but since arriving in New York and staying too long, had not come back. There certainly was a piece or part of me that had lived and died here, but I was unsure what it was yet. But what of Colbert? Even this was an incomplete and intercepted thought, or concept. All I looked at was him in this light, clutching this little gun that I loved because it was so silver and so polished and so small, And the words “Lost Light”. So perhaps I'd write that song next. [The Festival Project ™] —Death of a Superstar DJ Chroma111. INT. CRYPT. ROCKEFELLER PLAZA. I told you he was a genius! [a mechanical sound erupts from the cooridor above.] Hey! What happened?! BILL MURRAY Well, that's easy! You're trapped. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. 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<p>The Festival Project, Inc.™ is a multidimensional multimedia platform which encompasses exploratory and artistic social personifications and expressions on cosmic theory, spirituality, growth, health & wellness, philosophy and theoretic dynamics in entertainment such as music, design, film, television, radio, dance and festival culture, art, fashion, literature, and science. </p> <p> </p> <p>The Festival Project™ and it's subsidiary Non-Profit, The Collective Complex © aims to challenge modern artistic and philosophical ideals, break commonplace barriers, forage new creative mediums, and provoke inspired and reformed thought and actions toward evolution and overall societal improvement and ecological sustenance through a new-wave and post-modern, avant-garde and philanthropic hyperawareness driven by a unique culture of global values mediating global respect and preservation via open consciousness, multi-sensory and synesthetic (multi-preceptory) expansions of sound, language, vibration, movement, color, emotion, and ritual governed conceptually by the aspect(s) of love, truth, unity, understanding, and peace. </p> <p> </p> <p>Thank you graciously for your time, consideration, understanding, and support. ^.^ </p> <p>To Donate Please Visit,please visit gofundme.com/thecomplexcolletive </p> <p>TRIGGER WARNING! </p> <p>⚠️ VIEWER, LISTENER, and READER DISCRETION IS ADVISED. ⚠️</p> <p>This series contains adult content not suitable for children or under the legal age of majority. </p> <p>Listener and reader discretion is advised as this publication and / or broadcast and its selected readings and projected writings may contain explicit language, provocative wordplay, profanity, open expression of suicidal ideation, discussion of evolved/ de-institutionalized theories concerning depression and, psycology mental health, race relations and colorism, socio-economic inequality, political injustice and media politicism/ mass media manipulation, unresearched/undocumented scientific hypothesis , modern philosophical ideals and spiritual explorations, crude/ adult humor and may also include and contain pornographic content, references to fictionalized interpretations of celebrities and/or public figures (fan-fiction), caricatures or references to pop culture, modern art, music, science and other entertainment references which may evoke biased emotion, inspire adverse reactions, contemplative thought, discontentment, or discomfort.</p> <p> The views and opinions expressed by this series and its subsequent editions, additions, chapters, broadcasts, and publications are solely the writers' interpretations as expressed with artistic and entertainment purposes only. </p> <p>The artist reserves all rights to intellectual property maintained and produced by any and all publications of this series and is thereby protected under any applicable copyright law and/or trademark. </p> <p>All fictionalizations of persons living or dead are meant to be perceived as characterized and/or fictional (fan-fiction) are for entertainment purposes only, and are not to be perceived as real re-enactments, dramatizations of events past or present, media dialogues or agendas, or factual exchanges pertaining to and surrounding real-life circumstances. </p> <p>The dialogues and entires expressed in this project are in no way liable for any action, expression, disagreements, entitlements held by the reader at his or her/ their own discretion.</p> <p>[The Festival Project ™]</p> <p>The Complex Collective ©</p> <p>{Enter The Multiverse}</p> - How often does this podcast release new episodes?
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