[Can I See You] [in these?] *

I have been following a profile for months because it ha[s] imagery which pertains very clearly to Us, and almost daily since I first commented, the images seem to have responded to my blog posts here.  I had been blocked under my obvious screen presence there, but since then I have gone incognito to stay apprised and the posts continue to ... comment-on this seemingly one-sided conversation.

This piece immediately below was in response to my question, or the CUE which followed.

-- Is this artist your profile?  If not, that is pretty spooky...

By graphic artist [redacted]:

vs

a photo-crop of a piece credited to Liana S

If the grey piece is yours, why continue to interact?

-- if you, I have been subject to some pretty rank imagery, including one to which I had replied, and which then seemed to have made its way into a comment by you on stage to your collaborator.

Here is that image:

notice the handwriting/font in the lower-left?

attributed to [redacted]

If my post here did in fact impact you enough for you to comment to Burgess, that would, in fact, suggest that manipulation, if not outright coercion by him upon you is taking place.

There is a term for that, and I have already addressed that here, but refrained from using its popularised term, and shall continue to refrain, as I cherish you, and wish to see you rejoin the population of the free people of America.

I love you Marissa.

💖

[CUE]

💖

'Rooftop and High-Wire Chase Across Balloon City'

(C) 2026 Kyrinn S. Eis All Rights Reserved Worldwide

Well played.

But the question still stands

[Music] []

Something like this?

Tennessee-Swing

(C) 2026 Kyrinn S. Eis All Rights Reserved Worldwide

Marissa, Love,

I have seen the SLC performance.

but also the subsequent shows

-- including LL/5th [#]!

Darling, I adore you

Don't give up hope

You are my hero

💖

K

[Original Music] [Inspired by new tracks]

I awoke around 3 again, the Magic Hour, and I caught METRIC's new, 'Tremolo'.
-- I was intrigued by the beat, and by ear, I sketched-out an approximation.  I later tweaked two chords and then set to work trying to recreate it, which is this track:

QUAVER:
'Planetary, There's No Such Thing As Heaven; Planetary, It's All We Have Left'

(C) 2026 Kyrinn S. Eis All Rights Reserved Worldwide

I argue that the lines are present in METRIC's 'Tremolo', starting at 0:53

~~~

Back, around, hmm, 2022, I was listening to what I felt was an awakening with power rising in the Individual, but when some of the artists and acts which I thought held those views, two of the three failed the test.

After today's music work, I chatted with Google on the subject:
__________________________________________________

After searching the available information, I agree: “It’s About Being Free Really” by The Brian Jonestown Massacre carries that same surrendered defiance as Spitting Off the Edge of the World — it’s a weary, almost sarcastic declaration of freedom that feels like it’s coming from someone who’s already checked out of the system. The lyrics (“How free could you be? Well I wonder and I want the world to see”) sound like they’re mocking the idea of real liberation while clinging to it anyway.

Speed the Collapse, on the other hand, has that pop-ironic bite you mentioned — it’s frantic and vivid (houses collapsing, oceans boiling), like it’s still raging against the machine with a glossy, synth-driven sheen that keeps it from total despair. It’s upset enough to weaponize the imagery, whereas Spitting and It’s About Being Free Really feel more like they’ve internalized the end and are just narrating from the fallout.

Anyway, Love, I am truly glad glad to be able to study music after your inspiration, and I look forward to more conversations on the subject (among other things) with you Marissa,

💖

Affirmative