Closing ==> (Parenthetical) ==> Preyer Salad to the Quartz Tools

Eye. Runny. is a song & visual cycle written, arranged, recorded, mixed, remixed, performed, directed, and otherwise produced by Ramsey Sprague and dedicated to BIVioletta (my bicycle) and all symbols big and small, private and public of circumspect personal empowerment.

But these things aren't fundamentally 'mine':

* All Neon Like ==> Fetus Style is a song originally entitled All Neon Like written by Björk Guðmundsdóttir,
* Indigital Revolution ==> (Somewhere Outside the) Center for the Performing Rich ==> Illuminaughty is an intentional, tongue-in-all-cheeks parody of the Rolling GemStones' Under My Thumb,
* All of the graphic art, although visually remixed and 'art directed' by my own indigital digits, is almost entirely based on the original photography of Jean-Félix Fayolle of Nantes, France capturing our brief but epic adventures in Fort Worth, and
* The graphic "Raise Your Flag, Resistance is Fertile" incorporates a portrait of me performing at 1919 Hemphill by Lacey Espree.

This work indelibly carries the energies of the thousands of people who have crossed paths with me in the years since these songs first presented themselves, some of which go back well over 10 years. There is simply no way to properly acknowledge everyone and everything publicly. To present a gross oversimplification of the gratitude I carry in my prayers for those who have been so highly instrumental in my overall well-being as well as in the progress of my priority projects seems not only inadequate but inappropriate, as well. Please suffice it to say here that you are most dear to me, and despite my nuanced relationships to the political movements of our time, I love you and hold you precious within my intention of reciprocating the joy we share in knowing one another. If you encouraged the development of my ability to tell stories through song or otherwise, thank you so very much for caring to understand me.

Even with that said, I would be absolutely remiss to not mention that this curious document would simply not exist at all without Tammy Melody Gomez's willingness to open her private studio space at Alma Aquí in Fort Worth, Texas to me and my instruments for the time it took to get what was retrievable. In more ways than words can express, thank you and bless you Tammy!

If you are moved by any specific or general element of this work, please don't hesitate to send me a note.

-Ramsey