I’m a member of the SILENT-GENERATION. The too-quiet-bunch that were here just before the Baby-Boomers: The ones that were never trusted by that horde of self-interested animals who spread across the world after WWII.
We became ‘The Watchers’. We tracked the crimes and ‘the- everything-else’ that is carefully catalogued in this video. It gives no quarter in its analytical-anatomical surgery of exactly what we allowed to happen to the planet and to virtually everything of value to the populations. We must now pay the ultimate price for ‘that silence’. Yet we continue to RESIST WITH FORCE everything that could set us free, which has already died, long before now… (1)
I left Oklahoma City and came to San Francisco in 1965 for the funeral of the Hippie Generation. Reality had overcome the rise of the flower children and I wanted to see it for myself. I only stayed a few months before I ran out of money and returned to OKC. That was long enough to confirm what many suspected: There was no depth to that ‘rebellion’. Back in Oklahoma I continued to work on, “The State of the Nation 1966.” (2)
I had begun drawing eight years before in1958. I thought images could change everything about the massive attack on the American way of life, led by LBJ that had begun. It was a spontaneous understanding within the arts and society of that time that could have formed the core of a new Renaissance for literature, art, poetry, theater, music and more—based on a wide variety of people coming together—to blend the arts back into the core of American life.
This was based on people and talents from across the spectrum coming together to be able to support themselves and expand public awareness through conversations and interests in a wide variety of ways. Studios and gallery spaces surrounded by Book stores, coffee houses and theaters where people of like interests could find much of what many were still looking for under one roof.
The idea itself was as old as the basic awareness’s of ordinary people who have always been curious about almost everything in the world. I thought that perhaps active artists, writers and musicians might be able to use their talents to create new centers in the cities’ densely populated areas; to fulfill much of what was missing in the already corrupted media and government sub-worlds of the very early seventies: But that was not to be.
The burgeoning old-world-order had begun to implement thru: Compartmentalization, outrageous-taxation and the rising idioms of their control to crush any effort toward anything that could revitalize the arts – in any way.
Whether one tried to sell prints or CD’s, live-music or poetry readings, all of that was massively discouraged. Even the basics of conversations in coffee houses needed to be stamped-out. The banning of cigarettes managed to severely cut into conversation and attendance in local bars as well (The same people that want to ban-guns now, were secretly trying to reinstitute prohibition). Anything primarily social needed to be restricted and taxed to the point that it would never survive, as many things did before these draconian new laws.
If it was live-music CABARET-TAXES were imposed to the point where music was prohibited. The Dancers in Flamenco Clubs where musicians and dancers performed nightly free, eventually fell under the city-licensing fees that destroyed the best of the best in San Francisco; at El Mason in North Beach. Top-tier Jazz musicians, who lived in the City, couldn’t find work here because of the cabaret-taxes which were beyond prohibitive.
Ironically; had that not been the case the places where jazz could have been allowed would have increased the business of every place where such performances were encouraged, the same was also true of other musical forms as well. San Francisco could have turned into a global entertainment Mecca that would have surpassed anything seen elsewhere in the country. Yet this was firmly killed by city hall, even though the increase in ordinary business taxes would have hugely surpassed anything they had been able to pay-in-taxes before. But this was NOT about business PROFITS—THIS WAS ABOUT KLILLING THE MUSIC and the arts.
Had this not happened the rise of the level of garbage in films, television and virtually all the galleries would have been impeded if there had been real venues where people could come and converse as well as linger to watch and interact with the various artists and writers. But the “End of that Time” had already been written many years before and those of us that fought hard to keep LIFE alive were doomed to fail.
This would have been fucking phenomenal if it had been allowed to work! San Francisco wasn’t the only place where these kinds of ideas were taking root. But wherever an international following lived, was then over-ripe for innovative entertainment, and we KNEW it!
The cities financial demands were designed to make it impossible for artistic entrepreneurs to survive. That was followed up on during the Dot-Com bubble of the eighties; when the rest of the people in the arts were unceremoniously priced out of San Fiasco, which is today better known as Tel-Aviv West!
The point here ladies and gentlemen is: What we are facing now was preconceived long; long before we ever reached this point that we have come to today.
Agenda 21 would never have anywhere to ‘be’ if Americans had grown in totally different directions, at any time, in our blood-drenched history—but that too was apparently not to be.
Now we need to come together as people and not as politically-approved board-pieces on someone else’s chess-board. This is the last time that any of us will have even a shot at succeeding. (3)
WE need to use the next few days to their utmost!
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All images are © kirwan, all rights are reserved (unless otherwise noted).