Achilles – I

ACHILLES — Of Rage and Silence is Act I in an ongoing reimagining of Homer’s Iliad.

This project is a contemporary re-telling of Homer’s “The Iliad”, the ancient epic poem composed by Homer, translated, studied, argued over, and carried forward for nearly three millennia.

This is Act I.

The image — Achilles, seen only from behind — is treated as a canvas.
On that canvas, word is spoken.

This work uses AI-assisted image, voice, and sound tools, including music, guided at every stage by human authorship, selection, and restraint. Nothing here is arbitrary. Nothing leaves a machine without human hands on it — from the initial concept, to the prompts, to the edits that determine what remains and what is removed.

This is not a replacement for poetry, translation, or scholarship. It is a different medium for expression — one that allows an epic poem to be encountered through stillness, voice, and atmosphere rather than spectacle.

The cadence and discipline of this project are informed in part by the work of Richmond Lattimore, whose translation of The Iliad remains a touchstone for clarity, balance, and respect for the original text.

Achilles does not face us yet. Neither do Patroclus, Paris, or Helen — but they are coming.

This project is deliberate. It is structured. And we are only just getting started.

More acts to come.

Creative Platforms & Tools:

Artlist.io – Licensed music and sound effects
ChatGPT (OpenAI) – AI-assisted scriptwriting and narrative development
MidJourney – AI-generated concept imagery and character visualization
iMovie – Video editing and sequencing
ElevenLabs – AI-powered voice narration
Suno — AI-powered music generator that creates original songs, including lyrics, vocals, and instrumentation
Other Production Tools – Standard video/audio processing and conceptual design tools

This work contains no quoted or adapted passages from any modern translation of The Iliad.

The Argument — Act II [Agamemnon v Achilles]

The Argument — Act II is [bifurcated epistemology].
Power speaks. Necessity answers.
Agamemnon commands. Achilles withdraws.

After Homer—through Lattimore, Logue, and other modern translations, with AI-assisted voice and sound design
shaping the argument that fractures the war.

A Quartet in medias res.

Story, Narrative, and Conceptual Art — Copyright 2026 E Maria Shelton Speller

1001 Nights in the Facility [Unexpurgated] Short Film

1001 Nights in the Facility [Unexpurgated] – Episode 1: Keep Pace with the System

A Short Film by TRƎNCHԀƎOԀ⅂Ǝ

This short film is a manifesto told in medias res, an homage to One Thousand and One Arabian Nights. Lara becomes both Scheherazade and Lara Croft, whispering stories to stave off restlessness. Marquis is both the Marquis de Sade and a Shiv Roy-like heir to Render Enterprises, from HBO’s Succession. Like King Shahryar of the original tales, she holds the power to decide whether the stories continue. She is the heir apparent, though her father still bellows at her, “Stop calling your brother Fredo!” — a name she uses for him without affection. To Marquis, her brother is inept and in her way. She knows she is the real CEO.

On the court, Vegas has won twelve straight. Not by luck. Not by hustle. By machine. The Facility.
A neural court that remembers legendary systems — the Jackson (Phil Jackson’s triangle), the Flex, and the Princeton — rebuilt live as glowing choreography under the players’ feet. No shouting. No pointing. Plays trigger when rhythm aligns. The floor feels them, corrects them, and makes the game intuitive.

Manny, the janitor — an unreliable narrator — who remembers every word, tells it like scripture. Chuck Buko, a Bukowski-style podcaster, smokes and scoffs. And inside one of Marquis’ many estates, Lara whispers her doubts — about them, about the Facility — only to be checked:

“Yet you chose to stay. Take it from me — Life is a business. The biggest, the longest, the most important one you’ll ever run. You are the LLC, the INC, and the CEO of your life.”

The film strips basketball down to systems, stories, and choices. Marquis studies Lara like a dream. Lara buys one more night with a story. Chuck calls it myth, casino math, a stacked deck. Manny shrugs: “I’m a basketball head.”

This is not chance. Not destiny.

It’s management. The Facility is AI-powered, relentless. It doesn’t just host the game. It rewrites it.

And when the credits roll, the only measure left is glory:

Roll credits. Count the rings.

Story, Narrative, and Conceptual Art — Copyright 2025 E Maria Shelton Speller

Creative Platforms & Tools:

Artlist.io – Licensed music and sound effects
ChatGPT (OpenAI) – AI-assisted scriptwriting and narrative development
MidJourney – AI-generated concept imagery and character visualization
iMovie – Video editing and sequencing
Canva – Graphic design and text treatments
ElevenLabs – AI-powered voice narration
Other Production Tools – Standard video/audio processing and conceptual design tools

Credits:

Music

Chardonnay
Song by The Original Orchestra feat. Ran Raiten

Float
Song by Notize

It Hurts
Song by RIPPLES, Paper Plastic, Flint, ZISO

Farewell to a Warrior
Song by Jakub Pietras

Out of Reach – Alternative version
Song by Ziv Moran, Alma Zohar

Footage

Sweet, Gastronomic, Brunch, Delicacy
Clip by Creative Light

Cocktails, Drinks, Night Out, Club
Clip by Omri Ohana

Fabric, Linen, Texture, Cloth
Clip by Via Films

Hills, Dress, Elegant, Stylish
Clip by Morten Lovechild

Foot, Surfer, Sea, Beach
Clip by Matic Oblak

Residence, Home, Real Estate, House
Clip byHugo Will

Eye, Futuristic, Tech, Hud
Clip by DAVLEHA

Prompt, Conditions, Terms, Internet
Clip by Bruno Tornielli

~Ringgold’s Story Quilt

Postmodern Short Film — Metafiction

~ Ringgold’s Story Quilt (Pig Latin Translation)

ey-thay ay-say omen-way are-ay ethay emotional-ay ones-ay
→ they say women are the emotional ones

ut-bay ook-lay owhay uilds-bay ethay ombs-bay
→ but look who builds the bombs

ow-hay ells-say ethay ootage-fay
→ who sells the footage

ow-hay alls-cay it-ay eace-pay
→ who calls it peace

en-may id-day is-thay
→ men did this

en-may o-day is-thay
→ men do this

isdom-way is-ay etter-bay anthay eapons-way of-ay ar-way
→ wisdom is better than weapons of war

ut-bay eythay on’t-day ove-lay isdom-way
→ but they don’t love wisdom

ey-thay ove-lay ethay ash-flay
→ they love the flash

Conceptual Art and Narrative © 2025 E Maria Shelton Speller

Check out our collection of unique T-shirts at UrbanTripper Studio

Soft Power

Soft Power — A Speculative Thought About Basketball, Ego, and the Unspoken Code
Series: Under the You Left Her There Umbrella

Editorial

Title: Soft Power
Subtitle: A Speculative Thought About Basketball, Ego, and the Unwritten Code
Series: Under the “You Left Her There” Umbrella

What if the silence that followed Angel Reese being shoved to the floor wasn’t submission?

When it happened in the Fever-Sky season opener—and the crowd cheered—it felt like something broke. Not just skin against hardwood, but spirit. And when the league, the refs, and the media said “move on,” what they really meant was: swallow it.

But what if that silence was strategy?

We’ve seen this before. Kobe Bryant once iced out his own teammates to send a message. LeBron James disengaged during losses to make the front office sweat. Diana Taurasi? She skipped the WNBA entirely and went overseas when the league didn’t get it right. These weren’t meltdowns. They were controlled burns. Power plays executed with calm precision.

The WNBA built a superteam around Caitlin Clark. The Sky dismantled one around Angel Reese. They fired Teresa Weatherspoon—her trusted coach—and hired a rookie, Tyler Marsh, who appears more figurehead than tactician. GM Jeff Pagliocca  — who didn’t draft Angel — seems to be running the show. The leadership isn’t building around her. They’re boxing her in.

Now the Sky are 0–2, with double-digit losses, no rhythm, and visible dysfunction. And Angel?

She’s playing through it. Quietly. With restraint.

Some say she looks lost. Others say broken. But maybe she’s neither. Maybe what we’re seeing is soft power: the ability to resist by not giving them what they want.

Maybe she’s letting the system collapse under its own weight.

And maybe, when the moment is right, she won’t raise her voice. She’ll raise the standard.

Copyright © 2025 Conceptual Art and Narrative, E Maria Shelton Speller

This editorial is a speculative opinion piece. All claims are based on publicly available information and do not assert personal intent. It is published for commentary, analysis, and discourse.

Check out our collection of unique T-shirts at UrbanTripper on Etsy — https://www.etsy.com/shop/UrbanTripper

ProtectAngelReese #WNBAAccountability #NoMoreAntiUs #BlackWomenDeserveBetter

#WNBAViewership

@wnba and @wnbpa (Women’s National Basketball Players Association)

TRENCHPEOPLE ~My Birthday

[TRƎNCHƎOԀ⅂Ǝ ] ~My Birthday

Story, Narrative and Conceptual Art © 2025 E Maria Shelton Speller

Website: https://www.trenchpeople.com/trenchpeople-my-birthday/
Blog: https://emariasheltonspeller.com/2025…

Check out our collection of unique T-shirts at UrbanTripper on Etsy — https://www.etsy.com/shop/UrbanTripper

Credits

🎶 Soundtrack
“Birthday” by Where’s LuLu?
🔗 Listen on Artlist – https://artlist.io/royalty-free-music/song/birthday/132932

🎞️ Footage & Visual Clips
“Cloth Covered Character Mist”
🎥 Clip by Murad Muradov
🔗 Watch Clip – https://artlist.io/stock-footage/clip/cloth-covered-character-mist/6402828

“Cloth Covered Character Abstract”
🎥 Clip by Murad Muradov
🔗 Watch Clip – https://artlist.io/stock-footage/clip/cloth-covered-character-abstract/6402840

“Forest Abstract AI Generated Dreamlike”
🎥 Clip by Murad Muradov
🔗 Watch Clip – https://artlist.io/stock-footage/clip/forest-abstract-ai-generated-dreamlike/6402846

“Kids Playing Youth Childhood”
🎥 Clip by Eugene Nikitin
🔗 Watch Clip – https://artlist.io/stock-footage/clip/kids-playing-youth-childhood/6460922

“Face AI Cyberspace Algorithm”
🎥 Clip by Pixel DNA
🔗 Watch Clip – https://artlist.io/stock-footage/clip/face-ai-cyberspace-algorithm/6152206

Bars and Verses for the South Side [Short short]

A lyrical reflection written in counterpoint to Kendrick Lamar’s “The Blacker the Berry” — part protest, part prayer.

TRƎNCHƎOԀ⅂Ǝ
https://www.trenchpeople.com/black-2/bars-and-verses-for-the-south-side/

[EXPLODE]
https://emariasheltonspeller.com/2015/07/10/bars-and-verses-for-the-south-side-inspired-by-kendrick-lamars-the-blacker-the-berry/

UrbanTripper Studio
Check out our White & Black Collection of wearable art.
https://www.etsy.com/shop/UrbanTripper

[Like a great tee, you forget you’re wearing it; and when pilgrims remind you, it’s like a burst of serotonin, again and again…]

Music:
Moza Kaliza, “Eyes”
https://artlist.io/royalty-free-music/song/eyes/134586

SFX:
Lukas Tvrdon, Open and shut plywood door, cellar
https://artlist.io/sfx/track/open-and-shut-plywood-door-cellar-/23098

Clips:
Arthur Cauty, Cassette, Tapes, Cassette Player, Audio
https://artlist.io/stock-footage/clip/cassette-tapes-cassette-player-audio/642673

Thomas Gellert, Vintage, Screen , Code, Text
https://artlist.io/stock-footage/clip/vintage-screen-code-text/190611

Omri Ohana, Pyramids, Masonry Structures, Desert, Giza
https://artlist.io/stock-footage/clip/pyramids-masonry-structures-desert-giza/617769

Imagery Generation:
MidJourney

You Left Her There — The Bounce You Didn’t Hear

You Left Her There

An Open Letter by Trenchpeople.com
May 17, 2025

Empathy takes time. Most of us aren’t born knowing how to reach for someone when they’ve been knocked down.

But institutions? They don’t need time.

They need pressure.
They need metrics.
And above all—they respond to risk.

So when Angel Reese was shoved, provoked, and penalized under the spotlight during the Indiana Fever vs. Chicago Sky opener, the WNBA made its calculation.

They didn’t issue a statement.
They didn’t clarify the officiating.
They didn’t condemn the crowd.
They didn’t stand beside her.

They watched the clips go viral.
They saw the backlash build.
And they chose silence.

That wasn’t a communication gap. That was market behavior. And it was also a moral failure.

This wasn’t about a game. It was about what the league is willing to protect—and who they’re willing to let stand alone.

Angel Reese is not a controversy. She’s a platform. She drives views. She lifts ratings. She expands audience. She makes this league profitable.

But when her presence threatened the illusion of neutrality—when her experience forced a public stance—the WNBA flinched. They issued symmetry instead of justice.

And that is the tell.

When everyone gets punished, no one gets protected.

Let’s be clear:

This generation of Black American women fans? We are not infinite. We are not emotionally loyal to institutions that are strategically indifferent to us.

We are watching the pattern.
We are watching the positioning.
We are watching who gets defended and who gets fed to the noise.

And we are not confused.

The WNBA built itself on empowerment campaigns and borrowed clout. It sells authenticity while quietly disciplining it. It markets confidence but cannot manage the backlash that confidence attracts.

That’s not oversight. That’s the ceiling.

You want the culture without the cost.
You want the moment without the meaning.
You want the market—but not the mirror.

Here’s what you need to understand:

When you leave Black women unprotected, you are not just creating distance. You are creating rejection. And that is not a branding issue. That is a business problem.

The silence was noted.
The decision was made.
And what you’re losing now isn’t just fans.

You’re not just losing trust.

You’re losing the only audience that ever made you relevant.

#YouLeftHerThere #NoMoreAntiUs #Trenchpeople #ProtectAngelReese #MoralFailure #MarketBehavior

Copyright © 2025 E Maria Shelton Speller. All rights reserved.

____________________________________________________

We initially prepared this letter for Essence, but after jumping through more hoops than felt necessary, we decided to share it here—on our terms. This message doesn’t need gatekeeping. It doesn’t need packaging. And it’s not a pitch. It’s a response. So we’ve published the original letter alongside You Left Her There, right here on trenchpeople.com—where it belongs.*

Title:
You Left Her There

By Us| For Essence

When I knock someone down—on purpose or by accident—I pick them up. That’s how I was raised. That’s how I understand responsibility. That’s how I understand being human.

So when Angel Reese got shoved, provoked, and then penalized, the expectation was clear:

She would get up on her own. And say nothing.

That’s what’s expected of Black women in this country. Fall with grace. Bleed quietly. Recover without disrupting the system that harmed you.

Angel didn’t just take a hit on the court. She took one from the structure—from the officials, from the silence of the league, from the weight of a moment that told her: we’ll market you, but we won’t protect you.

This isn’t about trash talk or a rivalry. This is about a political arrangement that uses Black women’s labor, voice, and excellence—and then disappears when we’re targeted. Not just dismissed. Not just misrepresented. But exposed—for the crowd to watch and judge and distort.

There was a moment—when Angel stood there, singled out and penalized—when the league could’ve said, This isn’t who we are. But they didn’t.

They froze.
They measured.
They chose neutrality over truth.
And they left her there.

What does it say when a player is visibly targeted, and the system responds with symmetry? What does it say when a league known for progressive branding decides that punishment is easier than protection?

It says Black women are safe here—until it’s inconvenient.

It says: you can build the league, carry the ratings, drive the culture—and still be seen as too much, too loud, too visible when something goes wrong.

We are not new to this.

The politics of containment are older than the league itself. Angel was expected to take the foul, take the heat, and keep smiling—for the sponsors, for the press, for the game.

But let me be clear: no Black woman should have to smile through erasure.

Not again. Not here. Not on May 17, 2025.

Not while carrying a league that built its momentum off our backs.

Angel was left standing in the middle of a storm, expected to hold composure as the system quietly closed its doors. We’ve been there. In boardrooms. In classrooms. In hospitals. In airports. On stages. We’ve stood alone while institutions that used our image went silent when it counted.

So this piece isn’t just about Angel. It’s about all of us who’ve been pushed down in public and then asked to get up in private, with grace, as if grace should be policy.

No. Policy should be policy. Protection should be the rule—not the exception when the cameras are rolling.

Angel didn’t fall. She was left.

And if the WNBA doesn’t understand what that moment means—doesn’t act on it now—it won’t just lose the trust of one player.

It will lose us.

*I don’t know if I’m satisfied with the ending…

The UrbanTripper Studio

The UrbanTripper Studio is where art meets individuality. We create wearable poetry—T-shirts that transform bold, creative snippets into unique, collectible pieces. Explore our White Collection, with The Black Collection coming soon. It’s more than fashion; it’s art you can wear. Discover the story at trenchpeople.com.

Wearable Art:

The UrbanTripper Studio Treatise: https://www.trenchpeople.com/4057-2/

Conceptual Art and Narrative © 2025 E Maria Shelton Speller
https://www.trenchpeople.com/

Talk to Me
Song by Ariel Shalom
https://artlist.io/royalty-free-music/song/talk-to-me/128898

Dystopia, Cgi, Destruction, City
Clip by
Savagerus
https://artlist.io/stock-footage/clip/dystopia-cgi-destruction-city/598778

THE URBAN TRIPPER STUDIO

About the Video

Welcome to UrbanTripper! 🎉

Discover bold, statement-making apparel that celebrates art, poetry, and individuality. Each T-shirt features a unique snippet from a different poem, creating a larger poetic narrative that’s both inspiring and wearable. Perfect for refreshing your wardrobe or finding a meaningful gift, our collection is designed to spark creativity and provide comfort.

Much like collectible trading cards, these designs are made to be gathered, shared, and cherished.

Best of all, every purchase supports the seed round for Inside the [Dollhouse] with the Red Corvette (ITDWTRC)—a visionary app combining urban exploration, storytelling, public safety, and innovation. By supporting UrbanTripper, you’re helping us build something extraordinary.

Thank you for shopping small and making a big difference. Wishing you a prosperous and inspiring 2025! 🌟

https://urbantripper.etsy.com/listing/1830119418/the-life-of-pie-tlop-short-sleeved-t

👉 Shop Now:

Etsy Store — https://www.etsy.com/shop/UrbanTripper
Explore the Collection — https://www.trenchpeople.com/4057-2/

Conceptual Art and Original Poetry Copyright © 2024, E Maria Shelton Speller.

Song: Get Dangerous! (Instrumental Version) by Frank Bentley, Anthony Mar.
Music from: Artlist.io — https://artlist.io/royalty-free-music/song/get-dangerous/93934

Our Call-to-Action (CTA)

This is more than a T-shirt—it’s wearable art. Bold designs. Poetic stories. Limited release. Don’t miss your chance to own a piece of this exclusive collection. 🎁 Perfect for YOU or someone you love!

Verses are from the following poems (in the order of their appearance):

POV – The First Time They Heard James Brown – Live at the Apollo — https://www.trenchpeople.com/pov-the-first-time-they-heard-james-brown-live-at-the-apollo/

Luda’s Soliloquy – Miles Language I — https://www.trenchpeople.com/purple/ludas-soliloquy-miles-language-i/

AI Assignment – A Poem the Gods Would Read — https://www.trenchpeople.com/blue/ai-assignment-a-poem-the-gods-would-read/

Luda’s Soliloquy – Miles Language II — https://www.trenchpeople.com/purple/ludas-second-soliloquy-miles-language-ii/

POV — The First Time They Heard James Brown — Live at the Apollo

Live at the Apollo is a live album by James Brown and The Famous Flames, recorded on October 24, 1962, at the Apollo Theater in Harlem, New York City. Released in May 1963, the album captures an electrifying performance that has become a milestone in music history, renowned for its raw energy and profound emotional impact.

About the Narrative:

“This Is Not a Trailer — for a  POV”

The POV is yours
You assign meaning and value
The beginning and ending
The POV is yours

Though I would argue
IF is fiction
If never happened
If doesn’t matter
Should have would have could have been make believe

Fantasies
It is what it is is real
and sentences that begin with
I think, I thought, I know what you’re thinking
I believe
are movies in your head

What’s happening now is real
The POV is yours… bon appétit

Copyright © 2024 E Maria Shelton Speller

James Brown performing live at the Apollo Theater, 1962

Background

Defying skepticism from his record label about the commercial viability of a live album, James Brown financed the recording of Live at the Apollo himself. The album showcases not only his dynamic stage presence but also highlights the seamless collaboration with The Famous Flames—Bobby Byrd, Bobby Bennett, and Lloyd Stallworth. Their harmonious vocals and vibrant performances were integral to the night’s success, though they were often overshadowed in historical accounts.

The Performance

The album features a continuous flow of songs, blending into one another to create an immersive experience. The music defies strict categorization, transcending genres to deliver something universally resonant. Each track is executed with impeccable musicianship, stirring emotions that release dopamine and serotonin, leaving listeners with a profound sense of exhilaration and connection.

Reception and Legacy

Upon its release, Live at the Apollo achieved unexpected commercial success, reaching number two on the Billboard Pop Albums chart and remaining there for 66 weeks. Critics praised the album for capturing the essence of a live performance without the enhancements of studio recording.

In 2015, Rolling Stone magazine ranked it as the greatest live album of all time, a testament to its enduring influence. The album continues to inspire artists and captivate audiences worldwide, bridging generations and cultures without the confines of musical labels or stereotypes.

Cultural Impact

The performance at the Apollo Theater holds a significant place in cultural history. It represents a moment when music brought people together, transcending social and racial barriers of the time. The album’s ability to evoke deep emotional responses has solidified its status as more than just a recording—it’s a timeless piece of art.

Recognition of The Famous Flames

Recent retrospectives have sought to give due credit to The Famous Flames, whose contributions were vital to the performance’s impact. Their synergy with James Brown added layers of depth and excitement, making the live experience unforgettable.

Modern Tributes

To introduce this masterpiece to new audiences, contemporary projects have reimagined the experience through visual media. One such tribute is our own “POV — The First Time They Heard James Brown — Live at the Apollo,” which offers a fresh perspective on each song, capturing the intensity and emotion of the original performance.

Conclusion

Live at the Apollo remains a monumental work that transcends musical categories. Its enduring appeal lies in its ability to stir profound emotions and connect with listeners on a fundamental human level. The album stands as a testament to the power of live performance and the timeless artistry of James Brown and The Famous Flames.

References

Rolling Stone Magazine. (2015). “The 50 Greatest Live Albums of All Time.”
Wolk, Douglas. (2004). Live at the Apollo. New York: Continuum Books.

External Links

Official James Brown Website
Live at the Apollo on AllMusic
Apollo Theater History

Credit

Skrxlla – Big Time — Stripped Version
Marzio Mirabella — Town, Houses, Carloforte, Curtain
Zafar — Italy, Vacation, Summer, Puglia
Piotrek Naumowicz — Woman, Living Room, Smartphone, Phone
Michael Omonua — Kids, Dancing, Village, Africa
Trzykropy – Trainer, Ballroom Dancing, Dark Studio
Pink Pelican Studios — Beautiful Young Woman Sleeping Dreaming and Flirting in Bed
Omri Ohana – Cars, Driving, Tunnel, Road
Thomas Gellert – Painting, Colors, Art, Oil Paint
MXR Productions — Subway, Fear, Chasing, Following
Via Films – Steam, Smoke, Rising, Engine
Will Niava – Sitting, Car, Dreadlocks, Rasta
Phong Croco – Motobike, Driving, POV, Motorcycle
Seffy (Joseph) Hirsch – Train, Bridge, City, Nighttime
Thomas Gellert – Graffiti, Vandalism, Abandoned, Decrepit

Check out our collection of unique T-shirts at UrbanTripper on Etsy — https://www.etsy.com/shop/UrbanTripper

TRƎNCHԀƎOԀ⅂Ǝ Mixtape [Narrative]

Copyright © 2022 E Maria Shelton Speller

Check out our collection of unique T-shirts at UrbanTripper on Etsyhttps://www.etsy.com/shop/UrbanTripper

Spoken Live!

Check out our collection of unique T-shirts at UrbanTripper on Etsy — https://www.etsy.com/shop/UrbanTripper

Purple People

Check out our collection of unique T-shirts at UrbanTripper on Etsy — https://www.etsy.com/shop/UrbanTripper

Dreamscape’s Istanbul

THE DREAMSCAPE MEDIA KIT

Our blog ~ EXPLODE – The Writers Environment is a platform for curated and commercial content in an interactive meta-environment… and DREAMSCAPE is the landing. Its an art installation in a digital world…

It’s an immersive ad-free environment that functions like a wikihole — and a literary Pokémon.

DREAMSCAPE is not only a standalone platform but also functions as base camp for the “Inside the [Dollhouse] with the Red Corvette (ITDWTRC) gaming app — that gives users the autonomy to curate their own experiences from their points of view and assign meaning.

When content on DREAMSCAPE tells a story about a beautiful woman swimming in a pool – we want you to see her.  We want you to stumble for points on a link you cannot see, fall down a rabbit hole and land in an environment with a beautiful woman swimming in a pool, on the inside of a glass house – in Hollywood Hills…

Like Seth Godin’s Purple CowDREAMSCAPE is remarkable because it has to be. Or it’s just another brown cow — an ordinary website — with ordinary content. But Purple Cows need Purple Cows to be Purple Cows. DREAMSCAPE facilitates purple content, purple website design and development, and purple product placement — for purple people.

It is the foundation for curated experiences in an interactive meta-environment that facilitates content and other stories – using digital media and conceptual art that redefines how artists, their audience and visitors experience real and virtual content on several levels. Every paragraph, period, and ellipses is space for discovery.

DREAMSCAPE  is a vibe for visionaries — Poets, Writers, Developers, Programmers, Filmmakers, Thespians, Graphic Designers, Artists, Musicians, Directors, Cinematographers, Designers, Educators, Historians, Actors, Conceptual and Performance artists, Photographers, SMIs, VR, WebVR, XR and AI.

It’s what William Gibson described in Neuromancer, “A graphic representation of data plugging your consciousness into a digital world, while watching the physical realm evaporate.”

DREAMSCAPE is where Gibson’s Neuromancer meets Homer’s Odyssey, Basquiat meets Hip Hop, and Hitchcock meets Quentin Tarantino ~ in the one and only interactive meta environment where presentation is myth and “space” is an intrinsic, discrete, and symmetrical experience — for purple people!

WORLDWIDE AUDIENCE REACH >11M
FOLLOWERS ACROSS SOCIAL PLATFORMS >354K
GENDER F: 47% M: 51% Unspecified: 2%
DEMOGRAPHICS 18-24: 41% 25-34: 26% 35-44: 13% 45-54: 9% 55-64: 6% 65+ 5%
LOVE DIVINE VIDEO IMPRESSIONS >1M
AVERAGE TIME SPENT ON DREAMSCAPE 44.48 sec

Acknowledgement:
DREAMSCAPE and the gaming app ITDWTRC benefits humanity as an alternative to social malfeasances e.g., sexism, racism, classism, genderism, ageism, colonialism, colorism, persecution, oppression, violence and subjugation… It is space to dream unencumbered by social impediments – immersed in dopamine and replete with points for discovery. What we experience in RL, we can experience untethered in XR and AI.

© 2020 E Maria Shelton Speller.  All rights reserved.

Music, SFX, ASMR, AI, AAC, Gamification and Storytelling on trenchpeople.com.

© 2021, E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

The SFX Menu Includes

The quintessential sound of the Pandemic thermometer

An environmental protest and chants of children

A Dune character shouting “Freedom”

Cartoon characters laughing at… Idealism

AI woman announcing traffic delays

The nouveau riche exodus on a Spaceship

AI woman announcing the time

The security breach and sound of an alarm

A Rush Hour in India

A Bazaar in Turkey

An ASMR cough

The paranormal voice of a robot

Tape Talk Fast Forward/Rewind

The motif of the Pandemic thermometer

The steam punk sound of doom

The Ditty bop sound signaling the end of the game.

Yellow Tape [A Memoir]

Author’s Note:  The following excerpt is from the book titled, Yellow Tape [A Memoir] coming in the summer of 2021.

Prologue

I don’t believe in coincidence. I believe in synchronicity.
We were meant to be – because we happened.

We took shelter in dark closets and screamed like tiny Sirens until our eyes were bloodshot and bulging, our ears ringing, our faces slick in tears and mucus, and our legs were covered in urine.  Chaperones in an obliged competition for who could scream the loudest and longest interval — to stop MaMommy and MaDaddy from fighting again.  We were toddlers.

When there was silence – except for the tinnitus in our ears, our eyes blinked for sound and with unclenched fists we dried our faces with the palms of our hands and the cuffs of our pajamas.  Sometimes we looked to each other for muted answers – our eyes suspended like question marks. 

I was two years older than my sister, and much taller. I reached for doorknobs above our heads —   I slowly turned. We peeked through the crack of light in the door.  If the crack was too narrow and my sister couldn’t see behind me, she would get down on her knees and look under the door for shadows.  We had this routine, you see.  If we heard our Mother moan, I would shut the door again — quietly.  We squatted on the floor close to each other for comfort and embraced our knees like pillows against our chests and waited interminably.  Twin hearts beating in sync. 

I can’t remember when, or how, or who rescued us from the closets… we may have rescued ourselves, quickly scurrying on bare feet to the bedroom we shared.  Success was silence, and when there was silence, we were safe.  We never looked for our Mother. She didn’t want to be found.

The next morning, my cheerful Mother would fix our favorite breakfast.  Pancakes and bacon and sometimes scrambled eggs.  We loved sugar, so we smothered our breakfast in Aunt Jemima syrup.  With care we looked for signs of injury to no avail. What were we crying about, after all? A tacit agreement that we were silly little girls worrying over nothing.

But we had so many questions. What happened? Why aren’t you sad? What can we do for you?  Was it our fault? Did we do something wrong? Why was MaDaddy so mad? Did he hurt you?  Do you love him?  We always settled for, may we have more syrup, please? 

I huddled over my breakfast once to hide the stain of a teardrop in my syrup. My Mother said, “Don’t cry.” as if crying was unnecessary, inappropriate, and a violation of her privacy.  Strong girls don’t cry. So we colluded with our Mother and pretended the incidents never happened, and drowned our pancakes in syrup, swallowing quietly, staring straight ahead, wearing our happy faces, our lashes blinking in accord and swung our legs under the table. It was a quiet ritual and the feelings were always the same. My sister and I learned early to swallow our feelings like pancakes, smothered in syrup.

******

I know pain in a vacuum and how hollowness and emptiness can coexist, like a moon that blocks the sun. This morning was metallic like the quicksilver mercury a classmate shared on the playground in a secret show and tell.  It was one uncontrollable morning that moved without impediment. 

It was my sister’s 10th birthday. My mother was standing at the stove scrambling eggs in her night gown. Out all night, my Father burst into the kitchen. With five children at the breakfast table, he grabbed my Mother by the neck and at the same time pulled open the kitchen drawer grabbing the big knife without looking… as if it were placed there specifically for this one morning. 

I bolted from the kitchen on the heels of my Father dragging my Mother out of the kitchen… but somehow, she broke free… running and begging, Honey please, please, I love you… she ran, but not far before he slashed her right buttock with the knife, and I saw white meat… White meat! I ran for help! 

I left my Mother. I left my siblings trapped in high chairs, and screaming over bowls of Sugar Smacks… I felt my sister on my heels… we ran down the winding stairs, screaming… determined… pleading, the horror… the mortification!  What is going on? What is happening?  Call the police!  Call the police!  But my Aunt, my Father’s sister, called a sibling, a brother for guidance… Call the police!  I screamed.  I couldn’t stop him.  What was I to do?  My Mother never wanted to be found…

“Call the police!” I demanded over and over again.  She didn’t.  Instead she locked herself and her daughters in the bathroom… and my sister followed her there.  They barricaded themselves… and I faced him squarely… Pugilists without gloves, without tape, without corners… “I hate you!  I hate you!  You killed my Mother!  You killed my Mother! I hate you.” I screamed repeatedly.  

He hit me.  A Pugilist hit me in the head.  My knees buckled.  I didn’t fall.  He hit me again.  My knees buckled, but I didn’t fall.  I would not fall.  He reared back and hit me with a roundhouse punch a third time.  Boom like Forman punched Frazier.  My feet left the floor.  I sailed across the room and landed behind a Settee… the back of the chair toppled over with me — and behind the chair I peed on the floor and it ran like mercury.  I sat in it and looked up at my Father doe-eyed and mortified.  With the back of the chair in my lap I thrashed like a deer hit by a car on the side of a road looking for grace. I don’t know why he came downstairs or who he was looking for.  He found me. At 6’ 3’’ he loomed in the doorway like a dark ghost fading up the stairs with the footfalls of an athlete and the precision of his occupation: meat cutter.

I mustered the courage to follow him… Determined I climbed gingerly up the stairs that reminded me of every corner and crack in the doors of those closets my sister and I hid in when we were toddlers, but this time I was alone.  

At the top of the stairs, I turned the corner, and my Father was in the mirror in the bathroom cocking a brown suede fedora on his head.  He was wearing a brown silk walking suit and brown suede shoes.  I didn’t know where my Mother was.  I was awestruck. He was beautiful.  Fate would have my Mother behind me watching me watching him.  I wondered how he could be so cruel, so vain, so cold, so calm, so cool.  He didn’t see me, or perhaps he did.  I didn’t look for my Mother.  She didn’t want to be found. 

Quietly, I retreated back downstairs and waited for the Police. I left my Mother.  I left my siblings. My sister and my Aunt were still locked in the bathroom, and my uncle had not arrived even though my Aunt called him for advice.  Instead, he called the Police.  The Police finally arrived, a paddy wagon behind them.  A paddy wagon for my Mother!  Not an ambulance. 

At 12 years old I was indignant.  I knew my Mother was not to be treated like a criminal and a paddy wagon was not appropriate for her!  My Father should be in the paddy wagon!  She was the victim, she needs a Doctor, she needs help, sympathy and proper care.  How would they even secure the stretcher in the paddy wagon?  They were in the house and up the stairs before I could finish my thoughts.  My Mother was carried back down the stairs, and because she always wanted to protect her children, she asked the Police to cover her bloody head so her children could not see what would taint her maternal code of propriety, only her children understood.  

My Father was escorted down the stairs like a hero… a god.  He was a star.  No handcuffs… It was as if the Boston Police knew and respected him, and were impressed with his walking suit, his fedora, and those brown suede shoes.  The crowd cheered him!  By this time, my Aunt and sister stood behind me. We peered through the curtains at the crowd that gathered to witness the death of my Mother and someone, a young woman pointed at me in the window and shouted, “Look!  She looks like a monster!’  Quickly, we closed the curtains and retreated to our separate corners.  My aunt gathered the bearing she hid in the bathroom, now on full display and my sister and I shared a gaze and we knew we would never share a closet again. 

I had a concussion.   No Doctor examined me.  It wasn’t confirmed by the authorities. I bargained with God between crying jags until I fell asleep over and over again. My face, my eyes, and lips were swollen and lacerated.  My family walked around me as if they would not see me — except to offer soup, and then I would remember why I grieved, why I lay in the same spot on the same couch and again I would cry myself to sleep.  They left me there until my eyes were no longer swollen, no longer bloodshot, and my lips were no longer bruised.  Traumatized. My eyes didn’t blink, and they left me on my own.  That was perhaps the most generous thing they could do, sans calling the authorities to rescue the catatonic child, and putting the son and brother at risk.  He was jailed without bond.  I saw a snippet on page 10, or perhaps it was page 2, in a little box at the bottom of the page hidden in plain sight, “Colored Man Attacks Wife with Meat Cleaver.” 

We gathered ourselves by degrees.  I heard snippets of conversation.   My Mother was alive… She lost so much blood she needed transfusions and they reached out to other jurisdictions as far as Florida. We had to go to the welfare office for assistance and were instructed by my Grandmother and Aunt to dress down to look poor and pathetic…  We dressed in a manner that my Mother would never abide for her children. I overheard a constant refrain. My Mother “… must have done or said something.”

They said a man called my Mother on the only phone in our Victorian house – my Grandmother’s phone on the first floor.  Another of my Father’s brothers, told my Father a man called my Mother and chided him to do something!

I was alone in an abyss of violence justified by hostility, doubt, and betrayal.  I was convinced they didn’t like my Mother, or me for that matter.  My breath was alien, angry, staccato.  My Father slashed my Mother’s right buttock and left random slashes on her back.  He broke her arm, he cut her skull… and finally, and this was a first — he scarred her face.  A crescent moon on her cheek – the symbol for a new beginning.

Because of the institutionalization and practice of The Rule of Thumb, women in Massachusetts endured domestic violence. It was incumbent on women to press charges.  The D.A. begged my Mother to file criminal charges against my Father.  My Grandmother begged her not to file charges against her son.  My Father begged her not to file and guaranteed he would never harm her again.  My Mother did not file charges. 

The yellow tape was removed from the door.  We cleaned the blood and flesh off the floor and the walls, and discarded bowls of cereal abandoned and calcified in sour milk like the bark of a tree my Father fashioned into a lamp, and filled the space with children tethered and tripping over yellow tape that tangles as they grow taller.

My Mother came home wearing a shield of armor – a cast. White, clean, no graffiti.  She was proud of that cast – a symbol of survival – of an accident.  We were so happy!  Our Mother was alive, and even more beautiful than before!  I remember my Mother lying in the center of her bed surrounded by her children.  One of my siblings ran his hands through her hair, and she scolded him, “Don’t do that.”  The polar opposite of “Girls don’t cry.”  Don’t make a girl cry.  Don’t avail yourself to her body.  Don’t break her skin.

My Father stopped by. They had an announcement. He was coming home.  My sister and I were bewildered, and disappointed but always respectful; however, upon that announcement, I slowly rose from the floor and walked away without explanation or hesitation. 

This time my sister followed me up the stairs to our bedroom in the attic.  Not long after walking away from them my Mother did something she rarely did – she came upstairs to our bedroom.  She sat on the edge of my bed and gingerly told me my Father said, he hit me because I was hysterical.

I am not a monster!  I am not a monster…  It’s more complicated than that.

 

Copyright © 2020 E Maria Shelton Speller

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Edited by Brahidaliz Martinez

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We loved Anthony…

Artist Statement… Unfettered Birds (WIP)

Introduction

My work explores the relationship between what is real, and what is unreal.  With influences as diverse as Yukio Mishima’s Onnagata and 2001: A Space Odyssey.  Where words are illusory and freedom is real, and brick and mortar is a wasteland — for mortal dreams and nightmares.

Where categories don’t matter, and you are god… the god of your dreams.  My work is a journey – from the perspective of the young prince and princess in Hollywood, Dubai, the Great Caves, and Capote… Where freedom rings supreme and the fiction in your mind comes true — for real.

We launched Dreamscape in a glass cocoon — opaque me and transparent you.  Content is buried there — over black people, white people, red people, yellow people, brown people, rich people, poor people, and melancholy.  Inside pods power is fetish, and fashion is an avatar.  My work explores the freedom to be who we are — dreaming unfettered in space — birds…

 

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Copyright 2020 E Maria Shelton Speller. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.