In March 2001, Frank Moore started using the song “Fuck The War” as the closer for his “Frank Moore’s Unlimited Possibilities” public access cable TV show. Shortly after 9/11, the singer/songwriter of the song “Fuck The War”, asked him to stop using it. He honored her request and instead played this clip:
Frank: I will not use names, but I lost my theme song.
Linda: We had a theme song for a while for this show, and we lost it because the singer songwriter …
Frank: “Fuck the War”.
Linda: It was called “Fuck the War”. That was the song. And it was right after 9/11 or shortly after that, the singer songwriter contacted us. She knew that we were using it. It was actually … we used her singing it from when she was on the show.
Frank: She wrote it before all that.
Linda: Yeah, actually we started it as a theme song before all that too. And so at the point where all that started happening was like, oh, my God, the song is so …
Lori: Why did she pull the song?
Linda: She was concerned that somebody would go after her for it.
Linda: She said, I’m sure you’ll understand. And we said, no, we don’t understand!
Frank: And now I just sing it.
Linda: Right. So now we actually stopped it when she asked us to stop it. But at a certain point, Frank said, you know, I’m just going to sing the song, we need to have it back. So it’s him naked at a punk club singing the song. And that’s the footage we use as the close of our cable show.
Frank: But she moved.
Linda: She was not native to the United States and she moved back to her native country.
Lori: I see.
Frank: Because …
Linda: Probably from fear, I would imagine. I mean, the last we heard from her, it seemed like that’s what she was involved in. Fear.
An excerpt from the conversation on Frank Moore’s Shaman’s Den, recorded March 14, 2004.
Michael Parenti: Look at it this way. If it means that you can get ten million dollars by stripping and destroying a natural forest that had certain species and had other things and had other uses and fishing … and you can walk away with ten million dollars, you’d do it. Because the gain is immediate, it’s immense. It involves billions of dollars in an oil fueled economy, for instance. Hundreds of billions of dollars. And the costs are, the dis-economies, are thrown onto the public for the most part. It’s true some of that comes back to them. It’s true Betty Ford got breast cancer, you know … and others. But that’s a small price to pay for your hundreds of billions of dollars.
I don’t think we properly understand the mentality of the aristocratic, wealthy class. Their wealth is their essence. They kill for that wealth. They will kill and destroy whole countries to maximize that wealth. Maybe you could get a sense of it if you understand the Mafia. We’re always concentrating on the Mafia. The Mafia is penny, nickel and dime stuff. But it’s exactly like the Mafia.
It now comes in and it gets its cut … it wants a cut of any human activity that’s going on. That’s why it has to be privatized, so that they can come in. The mafia made it that way. They go to a store owner and say, “you make so much a month, from now on you give me a hundred dollars a week of that money”. That’s all. They just come in, don’t do a thing, don’t provide any service, they just get a cut. And that’s what these guys are doing to this day. It’s not the peanuts, the way the mafia makes it. It’s billions of dollars. They do not want any kind of activities, any public sector going on, and pension disabilities, survivors’ insurance, which is what Social Security is … they don’t want that. They’re not making any money. It’s billions of dollars and they’re not making a penny on it. It kills them. Public housing … the landlords don’t make a penny on public housing. So, that’s what their passion is. So when you come along and say “pollution” … so, a river … who gives a god damn about a river? (Frank laughs) They’re very good at attacking things that can’t defend themselves. They’re good at attacking children, the elderly, the disabled. And they’re very good at attacking the environment, because the environment can’t defend itself. The environment is there, and seen as raw materials infinitely … that they can use indefinitely. They believe they have complete right to all the natural … whatever natural resources are left in this world … that they have a right to access all of those resources, to use as they wish. They have a right to dump their dis-economies back into that environment. That is their mentality. And the goal is to get richer, and richer and richer and richer. As Marx said … there are three words he used in Capital, Volume 1 … accumulate, accumulate, accumulate. And that’s the madness that we’re facing.
Frank Moore: What will happen when there is nothing to accumulate?
Michael Parenti: Well, they will go on doing what they do now. For instance, we hear that the Pentagon is now developing contingency plans for global warming wars. That is … this is the level of insanity that capitalism brings people to. They don’t say, “This could lead to a catastrophic disaster”. They accept the catastrophic disaster! They don’t say, “We should change our methods of production, our energy systems, our transportation systems” and all that, to reverse this. They say, “This is coming and there are going to be many people, there are going to be massive riots, there are going to be whole countries where people are going to be starving or inundated by floods or by freezing temperatures if the gulf stream gets smothered by the melting ice, fresh water from the North Pole …”, and they’re developing plans to … so those plans are simply the same pattern of response they’re doing now, for instance, against terrorism. They don’t say, “We should change our policies, because our policies are creating terrorists”. The terrorists keep saying to us, “We fight you because you are in our region, you’re destroying our countries, you’re taking over our countries, you’re destroying our cultures, you’re doing this, and you’re doing that … and so we want to bring the war home to you” and all that. They don’t see that! They say, “Oh, the terrorists fight us because we’re … as Dan Rather said, “We’re winners, and they are losers, and that’s why they hate us”. Other … these right wing media pundits who over populate the TV stations, have all said the same thing, “They hate us because we’re free, we’re prosperous, we’re democratic, and we’re secular … that’s why they hate us”. But when you read what they say, the terrorists who did the 1993 bombing of the World Trade Center, Osama bin Laden, several of his interviews, I’ve got them all in a new book I’m doing, they don’t say that, they don’t say, “Oh, we hate you because you’re so free, and prosperous and good looking and all that stuff”. (Frank laughs) They say, “We want to get you off our backs. We want you to get out of here. We are retaliating.” They see their war as a retaliation against the things the U.S. has done. And the ruling class simply doesn’t look at it that way because they’re using the terrorism more for their own agenda, which is, higher military spending, larger permanent military bases through Central Asia, the Middle East, Africa, Southwest Asia. Everything the Project for the New American Century has talked about, they’re doing. And so it’s very clear that the war on terrorism, they don’t want to end the war on terrorism. They want that war on terrorism to keep going on. I mean, Bush lets it out sometimes, “This is the first war of the twenty first century. This is an era of perpetual war. There are a whole bunch of countries we’re going have to confront”. They want this to keep going on because it serves their purposes. It gives them runaway military budgets. It gives them a militarization of the whole society. It gives them license to go and attack and bomb and kill people all over the world, and to build military bases. The plan is to finally put a global lock on all the resources of the entire world. A global lock on all the populations of the entire world. To impose upon all of those populations, including the one in this country, a free market system, where there’d be no public sector, no protections, no regulations of any kind. Where the right of capital, and the powers of capital will reign supreme. It’s a very rational policy. That’s not my conspiracy theory. You can go onto your computer and just click in “Project for a New American Century” and they got it all written up there, they put it up on their website now, their plan.
Frank called this interview, “a deep conversation with a wise woman, a cultural pioneer, a midwife, an international bag lady …”
Frank always said that Louise was “to blame” for his life … he also wrote that “thanks to the gentle guidance by Louise Scott, I started to see my body as a tool.” This interview reveals the depth of that friendship of 45 years, starting from the very first time they saw each other at an all-night party of folk singers in 1968 San Bernardino. But it also dives deep into Louise’s down-to-earth wisdom from her profoundly rich and full life, with glimpses into just a sampling of the many chapters of this life. With joy and compassion, weaving through the beatniks of 1950s San Francisco, hanging out with satirist/author Mort Sahl when he first performed in L.A., starting communes and cultural centers through the 1960s and 1970s, traveling the world, being a midwife and working in hospice, and living outside of the borders and limits of society as a way of life … Louise is a model of this freedom, and has always been a mother and a friend, not just to Frank, but to people in general.
Frank: I know there are a lot of people, all over, in all lines of work, who wish I was not in the world.
Louise: They wish you weren’t in the world?!? Good God, Frank.
Frank: Well, we have someone here who they can blame for that. (all laughing) If it was not for her, I might not be here.
Louise: Well, you know Frank, if it wasn’t for you I might not be here either. (Frank sounds)
Frank: And there are a lot of people who … (Frank screeching, Louise laughing)
Louise: Watch out, watch out, watch out.
Frank: Who would blame me for that too. (all laughing) This is Louise Scott.
Linda: What? You want me to sum up? Oh!
Louise: Careful, careful there!
Linda: I’ll say what I know and you can correct me. I am going to attempt to tell a brief story of how Frank and Louise hooked up.
Frank: And you can stop me …
Linda: Yeah, you can fill in …
Louise: I can correct you or I can … OK …
Linda: Yeah, and fill stuff in …
Lousie: And I’m sure Frank will have a few little …
Linda: Frank was living at home with his mother and brother. (Frank sounds) I guess, in San Bernardino County.
Linda: He had made an attempt to leave home at one point, by getting an attendant who turned out to be drunk (Frank sounds) who pulled a gun on him, so now he’s back living with his mom, aware of the fact that if he doesn’t get out of the house soon, he could turn into the crip son who stays with his mom his whole life, so he was feeling like something had to give. He was toward the end of his college years. Louise was the cool, hippy lady that lived in town with … on kind of a little farm or something? Or some piece of land or something?
Louise: I had an acre there with a lot of out-buildings and whatnot … and my previous husband and I made a swimming pool and we made a sweat and we were really into it. We were supporting ourselves doing landscaping.
Frank: What is a sweat?
Louise: A hot steam bath, so we could get in there and get real hot then jump into the cold water, then get back out and whatnot. And, the first time I remember seeing Frank was at Sally … what was her name, a folk singer … we were all at this house, and here’s Frank, my God, here’s Frank. And, I, I, I … I watched him watching people. And I felt like he saw so much more than other people saw. And I felt a little uncomfortable about it, of course. (Frank low sounds) And that was initially … and then I was off, after that, off with the hippies. When I came back I got in it with Frank.
Frank: We did not talk at that time …
Louise: No, no, no. But I watched. And he was watching. And then, that was before I went off with all the hippies, right? (Frank sounds) And then I was up here at Haight Ashbury and Nevada City. And I left that and went back to San Bernardino and that’s when we really connected.
Frank: While you were gone, some of my friends from college moved in …
Linda: To her house?
Louise: Oh, those guys! (Frank screeches) (everyone laughs) Oh, OK. Well anyway then, when I go back, is when I really got involved with Frank. (Frank sounds) He would be by, and, with friends of his and whatnot. And in the meantime then, shortly after that, I moved to Santa Fe, when the big exodus to the country was happening. And I was back trying to sell that piece of property. Want the story about I was crying? (Frank sounds) I had been very sick and I was in the bedroom crying one day because I was losing my hair. And I heard someone was there and I walk in the kitchen and here is Frank. (makes sounds mimicking Frank’s sounds) You know, full of joy and all that! And I just … that was when I really felt a real breakthrough with Frank. And like, at that time I said, oh my God man, I’m out there crying about my vanity, you know, and I felt really bad about it. How could I be so vain, you know? And a day or two later, he brought me this beautiful painting that he had done of this head. (Frank sounds) And he said this is vanity. All golden curls and earrings and lipstick and this and that. He said, vanity is very beautiful. And then in talking about Santa Fe, he said, oh I wish I could go there. I said, you want to come live with us? (all laughing) (Louise mimics Frank’s sounds) Yeah. And so, we moved all to Santa Fe with me and my kids. (Frank screeching)
Frank: But I went before you got there.
Louise: Oh yeah! A friend, Steve, took him in the car. And then I came with all this furniture and stuff. Maybe I get it wrong, Frank! (Frank sounds) You know!
Frank: You said (Linda giggling) it would be two weeks. (Frank screeches)
Louise: How long was it?
Frank: Two months. (laughing)
Louise: Was it that long? In the meantime, he was at a place called The Center. That was set up at that time, the late 1960s right? Very late ’60s, early ’70s …
Frank: Early ’70s.
Louise: Every dissident in the United States was on the road. (Frank sounds) Going right through Santa Fe. The word was out there was free land. And this friend of ours who had become a Catholic priest at the time, Father George …
Frank: I first saw him when he was MC’ing for Lee Michaels.
Linda: Was this in San Bernardino? (Frank sounds) That’s the first time you ever saw Father George.
Louise: I don’t remember Lee Michaels. I mean, I don’t remember that. But that was away from me. I mean, it wasn’t connected with me particularly.
Linda: Yes. (Frank sounds)
Louise: So Frank is here, right in the middle of all these people, going all over the world, (Frank sounds) doing just dandy!
Frank: My first real time on my own. (Frank laughing)
Louise: On his own, right.
Linda: So you should describe where, what, like, what it was. I don’t think we’ve told anybody.
Louise: We called it The Center. And it was an old nursing home that we rented. It was huge. It had a commercial kitchen and all of that.
Linda: And it was you and George that started it?
Louise: That got this started … plus some other people. I mean, you know there were … it was really a joint effort, communal effort.
Louise: But, there was one guy in Santa Fe who volunteered to come and help everybody fix their broken down cars. (Frank sounds) And we had the Chicano Center that were a lot of the Chicano people. It was kind of the first integration there actually, between gringos and Chicanos … happened through there. Oh, everything happened through there (Frank sounds) really …
Linda: It was like a crash pad, where people could stay …
Louise: It was like a crash pad … people could stay. And we got people to donate produce … everybody kind of cooked and contributed and whatnot. And this got going there. And then I arrived, and then Frank lived with me and my kids because they threw Father George in jail for running a disorderly house or something. (Frank laughs) I don’t remember what they got him on. But I’m real grateful this happened. Because the amount of pressure that took off of Santa Fe that summer, God knows what would have happened. (Frank sounds) You know, I mean, kids were making love in the plaza, right? And they’re getting thrown in jail. (Frank sounds) It was … it was heavy. There was too much, all of a sudden, happened to Santa Fe. You know, we liberated hippies go there (Frank sounds) without our brassieres and that was totally outside of that culture at that time, and there was a huge clash that this prevented. (Frank sounds)
Frank: In fact, they bombed The Center.
Louise: Yeah, I wasn’t there when that happened. I was still going back and forth trying to sell this house in San Bernardino. See Frank was there. Steve got him there. Then I got there and we got a house rented and we got the other situation together. But most of the … initial work at The Center, I was involved in. But that was before Frank.
Louise: So when Frank got there … I don’t know why I was that long getting there, Frank. I was on my way. (laughing)
Linda: He said you had to settle things with the selling of the house?
Louise: Yeah, I never got the house sold. (Frank screeches) I probably rented it out again. There were problems. Government FHA loans and stuff. So I didn’t sell it at that time. But Frank was … you know, he was in his glory after being pretty much isolated. Although he’d been going to college. But, I mean, I’m sure he was just having a ball there. (Frank sounds) You know, it was good for him.
Louise: And then he lived with me and my children. And we were still very much a part of this alternate society. And fully a part of … remember the night in the tepee? The peyote meeting. (Frank sounds) We dug a hole in the ground so Frank could be propped up. (Linda laughs) You know, because there’s no … everybody’s on the floor, on the ground in the tepee. And you know, Frank was always ready for anything. Whatever it is, he wants to try it! He wants to do it!
Louise: So, there was a lot of that type of (Frank sounds) … whatever everybody else was doing. Which, it started in San Bernardino. You better believe he wants to get in the sweat and get in the pool. (Frank sounds) You know, tough buzzard. (Frank laughing)
This is an interview from November 2, 2002 that Frank did with Corey Deitz of About.com. LUVeR was active from February 1999 through April 2012.
LUVeR: Anti-Corporate, Anti-Capitalist Web Radio Radical, Uncensored, and streaming 24/7
LUVeR stands for “Love Underground Visionary Revolution”. It prides itself on being anti-corporate, anti-capitalist and probably a few more “anti” things as well. What it isn’t against is provocative, fresh Web Radio. LUVeR and stations in the same spirit are what Webcasting is all about. Your Radio Guide talks with one of LUVeR’s people, Frank Moore.
Corey: What makes LUVeR unique in your opinion?
Frank Moore: Well…how many radical webstations are there that are totally non-commercial, completely uncensored, stream live 24/7, have a core rotation of over 15,000 songs (adding more every day!) of every kind of music, webcast a wide range of programs created by people around the world, cover news, do exposés, cover political and cultural events, have large on-demand audio and video libraries, a separate news site…all run by just people for almost 4 years? Guess we have to define the word “unique”.
Corey: LUVeR states it is “an anti-corporate, anti-capitalist revolution!”. Can you talk more about that?
Frank Moore: Well, LUVeR is not about selling, making money, making it big. It is communication, spreading passions, inciting revolution. This is why we do LUVeR, pay for LUVeR, etc. This is what the internet is suited for. The corporate capitalists are freaking out because they finally have realized that the only way to make profits off the web is through monopolization. They also realized that they can not compete with us passion creative people making community together. So they are coming after us. But that’s doomed to failure.
LUVeR challenges the audience. When we first started LUVeR, people freaked because we played all kinds of music together…Without the false marketing ploy of genres. I know when people freak, we are doing our job! So we have weened people over the years away from the limits of genres. They freak when we show human eroticism. They freak when we do news, politics…Anything other than straight music. But LUVeR is here, not to make money or create a mass listenership, but to challenge, to plow down limits…And that over time attracts an adventurous audience.
Corey: LUVeR’s schedule is fairly varied. In traditional radio, that’s called “block programming” where different types of shows take up “blocks” of time. Would you agree LUVeR programs that way or am I wrong?
Frank Moore: God no! Block programming fragments reality…And gets boring fast! Each person is god over her show’s content…I never know what they will do. We schedule things purely on the practical level, not on content, not what will go with what! That would be safe…Boring!
Corey: Tell us about some of your favorite shows on LUVeR…
Frank Moore: Do I look that stupid? That would get me killed! Most of the shows I love. A few I don’t like. You have to explore LUVeR yourself! But my live streaming video show, the Shaman’s Den, is on Sundays at 8pm pt…The ultimate variety show with live bands, interviews, etc. For 2 hours. And then, after the sexy Susan Block’s video show, my “Playing with Passion” comes on where we play my videos of live performances…A lot of nudity! And that is just Sunday night!
Corey: LUVeR says it’s a “tribal” channel. Can you explain more about that?
Frank Moore: Well, it’s a big tribe who creates LUVeR, us here, the LUVeR crews who go out and tape events, the people who do their shows on LUVeR (anyone can do a LUVeR show), the D.I.Y. Bands who send us their music, the voices we webcast, and of course the listeners/viewers, etc., etc….A tribe of thousands!
cold dark homeless
clogged with ice fears,
my only friend
is the wind
chilling my bones
into a cynical loneliness.
Herding my sheep,
looking in windows
of unattainable desires,
looking at presents
I don’t have anyone to give them to,
looking into the past
soft colored warm homes
that are no longer mine.
Everyone has left,
everyone is gone.
Even the sun has left
long before the manger.
And the sun
will not come back
This is the season
of dark depression
and fragile suicide.
I can always bum up
the plastic hope and faith
at 7 Eleven
it is my wonderful life
in the video store’s window.
But instead I wrap myself in a jaded pretense of dry ice isolation of not caring, and drinking the stale but warm wine of regrets.
of new hope
has always been hidden within
the long cold
clinging to our tribal warmth
as our only protection
into the scary
we always have been blind
to the evergreen
hope of life.
It has always been
the first time
and easy hope
have gone away.
So we always think
they will never
The evergreen hope
has been hidden
in the womb
of the humble
and in children’s dreams.
The forces of greys
have always overheard
of the hidden hope…
have always searched
to pervert it
into human isolation…
to kill it
for all time.
But the forces of power
the hidden human hope
in the baby’s cradle.
goes on a desperate killing,
the old world up……
we huddle together
in the silent night
upon the hill,
in our tribal body warmth.
the holy woman,
the medicine man
have always shifted
our attention away
from the dark
have always shifted
to the guiding light
of new birth…
in the stars,
then in the roaring
all human feelings
and still later
into that corny
with bright colors
Into this fire we have always gone, hearing the drumming of our innocent heart beating in a slow excitement, meeting again our love of life. We curl up with our love and wait for warm spring to arrive… as hope grows into knowing.
This is an excerpt from the conversation between Christian Lunch (aka Xtian) and Frank on Frank Moore’s Shaman’s Den, December 9, 2001, right after the Fuck The War Ball at the underground punk club, Burnt Ramen in Richmond, California. Xtian performed with the Cherotic All-Stars that night. He was also at that time the sound guy at the Stork Club in Oakland.
Xtian: Well, I think the wonderful thing about eroplay, when you see it live is that, if you’ve never seen anything like that before, it’s like, hey, it’s a bunch of dancing girls … or, it’s a bunch of chicks, wow. This is cool, man. Let’s watch this! And the thing about it is there’s also that … um … it’s like it’s generating an erotic energy, but it’s being channeled towards something really powerful, like I said before. That’s the thing that makes it unusual. And it would shock a club owner but it turns the stage into performing, into a ceremonial space which is … I suppose the club people would be upset if you’re turning their club into a church. Maybe that’s what they are bugged about.
Frank: I am sneaky. It looks like rock.
Frank wrote this about the Fuck The War Ball performance:
Well, this was the period when I was producing a lot of music shows at the infamous illegal underground punk club BURNT RAMEN. This was the last two acts of a very long show. Traditionally my band closed the shows. Also, traditionally I cherry picked musicians from the other bands of the night to be in my band. But this show the musicians kept leaving during the show [the club was in the most dangerous neighborhood]. So at this point when I was the next act, I had no band except for Xtian [aka Christian Lunch] and a flock of nude women. So in the middle of Extreme Elvis’ set [which I consider one of the top five performances of ALL rock ‘n’ roll history!], I asked Elvis if I could borrow his band. So our two sets melted together! Btw, we performed in what normally passed for the GREEN ROOM there because that was where E literally pitched his tent!
Evolution searches out potential Within every life form, Within every experiment, Flowing through change, Flowing through adaptations Into new possibilities.
This tide wave Moves everything, Shapes everything, Leaving everything Which doesn’t find The ever changing Potential within its soul Behind… Just didn’t live out Within the dynamic dance Of existence. Failures are the golden steps Of expanding creation.
But we civilized humans Have been denied For most of the blink Of our history Most of our potential. The tide wave Has been dammed up, Evolution has been funneled Down into a narrow, High pressure laser Focused for profit and power Of the hidden few.
Most of our potential Is locked in, Locked away, Locked out, Locked up. Locked away in closets, Locked up in factories Of meaningless work, Locked away in warehouses Of waiting to die… Death waits A dull lifetime to come. Locked outside the margins, Locked outside on the homeless streets, Locked inside the suburbs of isolation, Locked within the walled communities Of comforting unreasoning fear, Locked up within well-paid sitcoms, Locked out toiling in the fields, Not allowed to eat the food, Dying in the false famine, Dying from thirst In the African dust Manufactured from bottled demand, Dying from sickness Preventable, Curable, Locked away within The dark other, Locked in the kitchen Cooking artificial food Of bland pretending Routine not fulfilling Any need or love, Locked down in chains On the sofa, On the shrink’s couch absorbing unattainable desires, Locked in gridlock, Not coming, Not going, Just sitting within Unmoving isolation, Listening to the latest muzak Of loveless loneliness, All shining and cold, Locked away In the passionless bedroom With the glass ceiling, Tied down in the bed of hopelessness, Tied down, Locked up in the nursing home, Lifetimes of wisdom Dismissed and forgotten, Locked up in padded cells, Dangerous healing imagination Being burned up by electric shock, Burning up the trash that could Save us all. Locked up on Death Row, Within the isolation cells Lies change. It will not die, Even under tortures Of ten thousand years. Just lock it up! Dam it up With the oily gum Of dogma! Manufacture fear and mistrust Of the other of difference. Pour the many flavors Of this poison Of bigotry From childhood In mother milk, In God’s image, On the blackboard Of coloring within the lines… Lock what’s acceptable, Normal, Within the lines… Then send these good citizens Off on crusades of killing Of the different other, Of killing off diversity Which is the curse Of profitability. The brew of bigotry Blinds the eyes to red is the color Of all human blood, Blinds us to We all are locked in Locked up, Locked away On the plantations Of slavery, In the sweatshops Of suppression, In the factory farm fields Of exploitation, In the occupied territories Of closing walls, Of refugee camps Of wandering Jews, Of death camps, Warehouses of all kinds Filled with waiting-to-die Living hopes, dreams, Loves, imaginations, Cultures of the human spirit Which do not fit into power, Wealth, and the controlled reality.
Yep, we all are in there, Including most of you Who believe you are The masters and the guards In your dank cubbyholes Of fears and addictions.
And within our cells We have been digging Throughout the ages Underground passages Linking passions together. When we reach to touch one another, The bars melt like butter. We sing together In words that the masters Can’t understand. We create together, Dream, imagine together. We hope and make love Together behind the dam In evolution.
The silly mentally retarded girl Giggles as she runs to hug An absolute stranger. This is hope Of evolution. The police hose fires High-pressure profits Blasting of shortages Through the dam’s hole… Business as usual. But it looks like evolution Is about to burst through the dam. Will it destroy all of us? Who knows! We always have lived With Dooms Day Judgment Day Around the corner. Sometimes it came, Sometimes it didn’t.
But I’m betting That our underground potential Will be released in the coming flood And will expand.
But then This is written by A guy Who was supposed to have died LONG AGO In one of those death cells!
Fred Hatt was the second guest ever on Frank’s streaming internet show, Frank Moore’s Shaman’s Den, on August 31, 1998 on FAKE Radio. Fred is an artist, dancer, and photographer. During the show as they talked, Fred sketched a portrait of Frank.