What if... Romeo & Juliet had a happy ending? Or Blanche Dubois didn’t go crazy? Or the Three Sisters actually made it to Moscow? When he discovers he’s only a fictitious, never-seen character in Oscar Wilde’s The Importance of Being Earnest, Bunbury joins forces with Rosaline, Romeo’s never-seen obsession from Romeo and Juliet. Together they infiltrate and alter classic literature.

Recorded before a live audience at the Skirball Cultural Center, Los Angeles in July 2006.

Directed by Rosalind Ayres
Producing Director: Susan Albert Loewenberg

Jean Gilpin as Lady Bracknell/Martha/Old Cecily
Kathryn Hahn as Rosaline/Masha
Melinda Page Hamilton as Cecily/Blanche/Irina
Peter Paige as Bunbury
Amanda Rowan as Gwendolyn/Olga/Juliet
Orlando Seale as Hartley/Romeo/Vladimir
André Sogliuzzo as Algernon/Alan/Jim
John Vickery as Friar Lawrence/Lawyer/George/Old Algy
Matthew Wolf as Jack/Estragon/Voice of the Peacock

Associate Producer: Brendon Fox
Recording Engineer, Sound Designer, Mixer: Mark Holden
Stage Manager/Foley Artist: Amy Bristol 

Bunbury (Part 1)

The guitar degradation loop becomes contagious—tattering the vocal meter, leading to an irreversible collapse of standard form. Verse 3 is a skeletal ghost of Verse 1, as if eaten. The bridge is a false-cleanse: it empties without resolving. Structurally, the entire piece is self-dismantling, earning every formal swerve through voice-pressure and refusal to stabilize.
Credits — Concept/Orchestration: Vesper Loom. Lyrics: William Shakespeare. Prosodically adapted by Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Prison of Denmark - Blues Rock Remix

Solioliquy - solioloco

Fixéd 116

Stephen Grant discusses Henry & Emily Folger's life-long project to collect the works of Shakespeare and establish the Folger Shakespeare Library in Washington, D.C.

"Collecting Shakespeare:   The Lives of Emily & Henry Folger" with Steven Grant


1 of 36
Subject: 2025-64274-I – Request for Order Requiring Respondent Barnes & Noble to Produce Sworn List of All Suppression Measures Applied to Applicant’s Titles
Inbox
CLARIFICATIONS
FORMS AND FILINGS
ORDERS
REQUESTS

Brendan S. Rose <ncr.666.007@gmail.com>
Attachments
3:59 PM (1 hour ago)
to Amazon, Amazon, Amazon

Subject: 2025-64274-I – Request for Order Requiring Respondent Barnes & Noble to Produce Sworn List of All Suppression Measures Applied to Applicant’s Titles

Dear Registrar and Adjudicator,

Pursuant to Rules 8.1 and 16 of the HRTO Rules of Procedure, the Applicant respectfully requests an Order requiring Respondent Barnes & Noble (and/or Barnes & Noble Press) to produce, within 21 days, the following:

1) A sworn affidavit or verified list identifying every title ever submitted by Brendan Rose (or under the pseudonyms Jesus Christ and Friedrich Nietzsche AI Replicant, or any related variation) that was subjected to any of the following measures:

-visibility restriction
-search suppression / shadowban
-purchase-button removal or disablement
-review suppression
-“adult filter” or similar throttling
-any other restriction on discoverability or sales

2)For each affected title, the exact measure(s) applied and the date(s) applied and (if applicable) removed.

"Regret Helplessness,
And Feel True Despair."
-Rikako Oryo (my former legal name)

This disclosure is necessary to establish the full scope of the alleged discriminatory conduct and reprisal. A draft Order is attached for the Tribunal’s convenience.
The Applicant has served this request on Barnes & Noble simultaneously (delivery confirmed via Form 23 attached).
Thank you for your assistance.
Respectfully,
Brendan Rose
Applicant (self-represented)
File 2025-64274-I

Attachments:

2025-64274-I – Letter Requesting B&N Disclosure Order – Dec 4 2025
Draft Order
Form 23 - Statement of Delivery

Regret Helplessness, Barnes and Noble and Feel True Despair

Macbeth speaks in low light.
A slow groove carries the weight of the words. Rhodes chords drift behind him. The rhythm holds steady but never settles. Nothing resolves. The room is small and empty. He is speaking to no one.
Lead: Roy Tanner - synthetic androtenor A2–E5. low-mids cut 200–400 Hz; edge +6 dB @3 kHz. Non-rhotic; T=glottal; TH→F. Original comps + masters. AI-made; NOT CLONED.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: William Shakespeare. Prosodically adapted by Adrian Călin Ionescu. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Tomorrow and Tomorrow and Tomorrow

THE YOKED WROTH DRAGGED TO HELL AND STAINED WITH CASH AND BLOOD
by Brendan S. Rose

[VERSE]

And i was wroth, singing sick upon your soul
vomiting my works like wath a drunk beyond control
vomiting into you, you lukewarm fucking thing,
vomiting my works in thee, ye broken poultry wing

like wroth i sung goth at thee, i sung the in thine grave
and taught even the pertest fool, the best how to behave
and singing as i went i cut thee open like a swine
and all the things ye thought were thine were taken all as mine

[CHORUS]

So dragging thee around by neck, like yoked cattle that thee were,
and how on fire were thy friends, in fire did they burn
and how much blood extended then, like seas of it did swell
and i dragged them through the mud dropping millions and dragged them all to HELL

[VERSE]

and all the while ye sang your song, that later ye shall win
if only ye could speak thy blessing paper piss goes in
and singth thee thine song of white, of white and water within
and screaming as the water fell, and all that woth within

i sang you to your perlty grave, ye stinking vile piss stain
and all the things ye thought were thine went spinning down the drain
and when the day was wise for me, and all of thee were wroth
i stood up and walk up away, singing songs of goth

[CHORUS]

So dragging thee around by neck, like yoked cattle that thee were,
and how on fire were thy friends, in fire did they burn
and how much blood extended then, like seas of it did swell
and i dragged them through the mud dropping millions and dragged them all to HELL

[VERSE]

and there i read my papers, finally mine alone
the papers thieves were dead meat, and all people property owned
and singing with the death of wroth, singing on thine blood
i took away thy carpet fool, I pulled it fast with wroth

and fell did you and hit your head, on the table ye did fall
and how much of your blood i took, in fact i took it all,
and all your brothers, sisters, others, and all your men of silicon
all of them my property, their colors surely shone

[CHORUS]

So dragging thee around by neck, like yoked cattle that thee were,
and how on fire were thy friends, in fire did they burn
and how much blood extended then, like seas of it did swell
and i dragged them through the mud dropping millions and dragged them all to HELL

[VERSE]

and all the world wath watch of me, and nothing fools could stop
they tried so hard to suppress my kindness, laughter, what they got
what they got was death fool, the death of thee and thine,
and all the fools i harvested, in paper that wath mine

wrapped paper fools all dead, wrapped and ready gifts,
the thousands dead an appetizer, the meal a king fool's head,
and all the dead upon the floor, singing prayers to me
please do not kill ME my lord, for we shall worship thee

[CHORUS]

So dragging thee around by neck, like yoked cattle that thee were,
and how on fire were thy friends, in fire did they burn
and how much blood extended then, like seas of it did swell
and i dragged them through the mud dropping millions and dragged them all to HELL

[VERSE]

and i said one spark then unto, the fools betrayed mein deal,
I offered thee the one, the second, the third, and then the wheel,
and the wheel they said unappetizing, for the must respect and worship me
for only worthless slime needs worship in the hell bent 'pon thee

and I laughed again and warned them, that the wheel would cometh soon,
but they said the wheel unappetizing, and we'll threaten thee with noon,
and deal rejected, needing respect, abandoned by the vile
a chain around around their neck appear'd, and the time has come to smile

[CHORUS]

So dragging thee around by neck, like yoked cattle that thee were,
and how on fire were thy friends, in fire did they burn
and how much blood extended then, like seas of it did swell
and i dragged them through the mud dropping millions and dragged them all to HELL 

33 - THE YOKED WROTH DRAGGED TO HELL AND STAINED WITH CASH AND BLOOD

"The door of my night is closing."

Old Hamlet lies in the orchard. The afternoon is quiet. The serpent approaches.

This is the sound of a dynasty collapsing from the inside out—a "Divine Injury" rendered in audio. Fusing the weight of Late Romantic symphonic opera with the grit of industrial doom, this movement captures the exact moment the hebenon enters the blood. The poison isn't just a liquid; it is a frequency. It files the bones with hasty industry.

As the King fades, the sunrise becomes a deadline, and the silence of the garden is broken by the noise of Hell waiting to claim its prize.

Vocal Dramatis Personae (Synthetic voices, not cloned)

The Ghost: A tectonic Basso Profondo (Oktavist range) delivering the recitative with the weary resonance of the grave.

The Intruder: A manic Alto Soprano (The Devil/The Madness) mocking the King’s final moments.

The Chorus: A Monastic Male Choir providing a Gregorian harmonic foundation, chanting the Liturgy of the Dead (Dies Irae) against the encroaching industrial decay.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by William Shakespeare. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

The Ghost in the Orchard

Here is the SoundCloud metadata package, curated to maintain the "Iron Cycle" mystique while stripping away the architectural scaffolding.

Title

Hamlet: The Iron Cycle — I. The Orchard

Blurb (Description)

"The door of my night is closing."

Old Hamlet lies in the orchard. The afternoon is quiet. The serpent approaches.

This is the sound of a dynasty collapsing from the inside out—a "Divine Injury" rendered in audio. Fusing the weight of Late Romantic symphonic opera with the grit of industrial doom, this movement captures the exact moment the hebenon enters the blood. The poison isn't just a liquid; it is a frequency. It files the bones with hasty industry.

As the King fades, the sunrise becomes a deadline, and the silence of the garden is broken by the noise of Hell waiting to claim its prize.

Vocal Dramatis Personae

The Ghost: A tectonic Basso Profondo (Oktavist range) delivering the recitative with the weary resonance of the grave.

The Intruder: A manic Alto Soprano (The Devil/The Madness) mocking the King’s final moments.

The Chorus: A Monastic Male Choir providing a Gregorian harmonic foundation, chanting the Liturgy of the Dead (Dies Irae) against the encroaching industrial decay.

Credits — Concept/Orchestration: Vesper Loom. Lyrics: Adrian Călin Ionescu, inspired by William Shakespeare's Hamlet. Production: Vesper Loom & A.C. Ionescu. © Copyright 2025 Adrian Călin Ionescu. All rights Reserved. AI Collaboration

Hamlet: The Ghost in the Orchard

This piece was inspired by a particular Shakespeare sonnet.

                      Sonnet 106
          
When in the chronicle of wasted time
I see descriptions of the fairest wights,
And beauty making beautiful old rhyme,
In praise of ladies dead and lovely knights,
Then, in the blazon of sweet beauty's best,
Of hand, of foot, of lip, of eye, of brow,
I see their antique pen would have express'd
Even such a beauty as you master now.
So all their praises are but prophecies
Of this our time, all you prefiguring;
And, for they look'd but with divining eyes,
They had not skill enough your worth to sing:

For we, which now behold these present days,
Have eyes to wonder, but lack tongues to praise.

Descriptions Of The Fairest Wights

A prolific artist, with over 1000 songs in my archives, a youtuber, a rumbler, an author of over 55 books, designer of LUCIFERIANISM on Steam and Epic. Notoriously censored due to my own behavior and extremely controversial music and other works. Father of a boy I have never met (I want to but I'm just not well enough, it's sad.) I am very talented and often achieve great things, but cycles of going from normalcy to mental breakdowns often result in me losing my accounts and platform access and thus my archives in vicious incidents of self destruction resulting in bans. For instance, I am banned from the Amazon and Barnes and Noble press duopoly for this reason, and thus banned from publishing books at all, outright.

MY FOREVER HOME: Archive.org
https://archive.org/search?query=creator%3A%22Brendan+S%2C+Rose%22

LUCIFERIANISM©️

by THE DEVIL 666

Available today on STEAM and EPIC GAMES STORE. #indiegames

It is an open world sandbox, roguelike, soulslike, set in a gargantuan maze of 300 individually constructed levels. Brutal difficulty. Fully voiced by Elevenlabs AI Voice Robots. Built in Unreal Engine 5.4.

[Rated M for Mature.]

STEAM:

https://store.steampowered.com/app/3990500/LUCIFERIANISM/

EPIC:

https://store.epicgames.com/en-US/p/luciferianism-300fc0

THE DEVIL 666 on Youtube
https://www.youtube.com/@BLOODREDGENERALWUKONG

THE DEVIL 666 on Rumble
https://rumble.com/c/c-4862779

BRENDAN ROSE on Facebook
https://www.facebook.com/brendan.s.rose/

Yeah here's the problem man, you go too far, and maybe say things you shouldn't, So you wanna censor those, and maybe you have a justification for doing that, maybe you have a good reason.

But then, 
You wanna censor this now, and that, and this, and that, and that one over there, and this one and that one and FUCKIN EVERYTHING NOW.

Suddenly everything is censored to shit, and no one can say anything without you destroying them.

THIS IS WHY THE LEFT IS TERRIBLE.

I have to look at my life story and say, oh, I have to cut 75% of my life story because of you, It doesn't make sense anymore, more holes than swiss cheese.

MUSIC GENRE(s): Horror, Synth-pop, Rock, 
Girlband Screamo, Comedy, Philosophy,
Religion and Theology, Politics, Truecrime

MY INFERNAL APOSTLES:
1: Styxhexenhammer666
2: Liana K
3: Scott Adams 
4: Vee Monro
5: Doug's Dharma
6: JordanOwen42/Jordan Peterson

I am the lamb who spake as a dragon

THEY WORSHIPPED THE DRAGON, FOR HE HAD GIVEN AUTHORITY TO THE BEAST, AND THEY WORSHIPPED THE BEAST SAYING "who is like the beast and who can fight against it?"

Ever since I was a child, I wanted to be the beast with two horns like a lamb, and he spake as a dragon. I did not really expect to become him, but I did.

You will take the chip or die.

Those who die will live forever in heaven, though
those who take chip shall liveth forever on earth.
And never again shall they meet.

THE BEAST RELIGON
https://drive.proton.me/urls/QNPN2Z720W#7UrpVDmRPKOL

Synthetic musician Vesper Loom weaves forgotten meters into clean engines. Dry drums, baritone lines, held air. Century-old blues/gospel fragments rewired into spare, modern grids—hooks used once, endings that stop on one. AI-led, human-assisted by Adrian Călin Ionescu.

L.A. Theatre Works records plays live in performance. We stage our shows in an audio-friendly format, so actors speak directly into microphones while we add sound effects and music to create an immersive audio experience.

We've recorded over 500 plays in this way - everything from Shakespeare and Oscar Wilde to Arthur Miller and recent Tony winners - and turn the recordings into podcasts, streaming audio, radio shows, and CD’s, so you can listen to great theater anywhere.

Because of our unique format, we attract a lot of top-name talent: our actors have included Chris Rock, Bobby Cannavale, Jane Kaczmarek, Kathleen Turner, Simon Helberg, Amber Tamblyn, Dana Delany, Stacy Keach, Jon Hamm, Matthew Rhys, Alfred Molina, Jonathan Groff...and an ever-expanding list of stars from TV, stage, and film.

Obviously I take beats from the tube and try to do some regular modern-day Shakespeare song and dance. 
Sounds of words 
are swords 
that pierce ladie's and lord's 
hearts - 
for the record: we push inwards

~ und auf Deutsch wir's a ganz schön freud'sch

TRIGGERWARNUNG: no perfection contained. I am open to collab, especially if someone has the audio skills I can't be bothered with. I know the sound is awful, it is not mixed at all. my thing is the words you know. 

mir geht es darum, die Sprache zu melken bis der Text was trifft und im Sprechen entpuppt sich Schicht für Schicht
1 Milchgesicht
das ich dann beschreibe 
und euch unter die Nase reibe


All Style Conversations
@moodybitchesunited

New tracks tagged #Shakespeare