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,

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.

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