"Yesterday a morning came, a smile upon your face. Caesar's palace, morning glory, silly human race, on a sailing ship to nowhere, leaving any place. If the summer changed to winter, yours is no disgrace." (Jon Anderson)

While some of us weren't around '71, iconography of evolution/devolution, constructivism/deconstructivism prevailing over a new and struggling definition of How the world must be, pretending to fill not just a theoretical gap, but must importantly an existentialist one. Western society was trying to find an epistemological/ontological approach that was only available only on arts, and let's say it, a redefinition of cultural and social esteem. First available as an explanation of systemic instability, but later destroyed by almost any establishment around the globe; conceived by them as social/mob riots and by the means they used, but not by its ends planning to explain and understand the role the "boomer" society was going to achieve from this period until now.

Social upheaval around the ruling class started fading away by the time new social/intellectual approaches as social constructivism started enriching/diminishing the way music was created and meant to be, in a style that didn't answer How the world must be, but proposed a way for explaining reality (both phenomenological and abstract) in the artistic aspirations by questioning themselves about statics and dynamics in the form of progression to fulfill the epistemological/ontological matter (as the ways of being/ways of knowing) of How to be/How to know.

For further reading:

-Hollis, Martin, The Philosophy of Social Science: An Introduction, Cambridge University Press, Cambridge, 1994, 278 pp.

-Hollis, Martin; Smith, Steve, Explaining and Understanding International Relations, Oxford University Press, New York, 1991, 240 pp.

-Martin, Bill, Music of Yes: Structure and Vision in Progressive Rock, Open Court Publishing Company, Chicago, 1996, 272 pp.