Smithsonian A Hit: Qui Bono?

Is Burning Man cashing in from their Smithsonian exposure, right before the big cash-out of the “Original Founders”?

Here is some of the coverage of No Spectators: The Art of Burning Man at the Smithsonian American Art Museum’s Renwick gallery:

Smithsonian web site

Smithsonian magazine

Bloomberg

Billboard

CNN

DJ Mag

Fast Company

Architectural Record

Artsy

Washington.org

The New York Times asked “Will the Spirit of Burning Man Art Survive in Museums?”

Recently, they announced a deal with Intel and Linden Labs, creators of Second Life – home of the Burn2 cyberspace regional Burn.

Sansar and Intel remake the Smithsonian’s art of Burning Man exhibit in VR (updated)

Will there be a Burning Man: IMAX 3D now?

It is great that big corporations like Intel are patrons of the arts. To whom does that patronage flow? Qui bono: who benefits? Burners?

The Smithsonisan exhibit, all the media attention around it, and now immersive HD multimedia experiences are creating a lot of value.

Where is that value going? It is going to the brand. Who owns the brand? A private company. Who are the directors of that company? Well, it does not appear to be who they told us the controllers were when we first exposed the existence of Decommodifcation, LLC.

There’s been a bit of discussion in our recent Rockstar Librarian post by trolls who think if you are going to write about Burning Man on your blog, you should be expected to pay for other peoples’ art projects from your own pocket, and you must never criticize the founders.

All of the founders made millions of dollars from the corporatization of Burning Man, and I don’t begrudge them that. I’ve never criticized them for that. They chose to sell it for the lowest possible value to the Burning Man project, which did have the effect of increasing the size of the tax breaks they all received for donating the Org to the 501(c)3 – an organization controlled by themselves, with public reporting requirements, which never pays tax. That’s just a fact. There’s no need to doxx the founders’ financial situations, this was all information publicly discussed on their web site and in the newspapers at the time.

Did they earn a lot of money previously to that transaction, that they needed a tax break to cover? We may never know, but A Balanced Perspective has provided evidence to support his analysis that the annual salaries suddenly leaped from about 2 million a year in 2009 to about 8 million a year in 2010, where it stayed for a few years before the transition was “complete”. Where did all that money go? The workers? It definitely did not go to the artists.

We exposed in Decommodification, Inc and Clarification of Decommodification that what really went on with Burning Man’s “transition to a non-profit” was not entirely altruistic. Less well publicized was the creation of a private company in 2010 called Decommodifcation, LLC that held all the actual value of Burning Man. There were various statements made by various founders around the time. Here’s what Larry said. First:

I will address two lingering perplexities. It has been asked if we intend to reveal the financial records of Black Rock City LLC. The answer is yes; that too will happen at about the same time as the Burning Man Project reveals its information—these two entities will then become a clean well-lighted suite of rooms thrown open for inspection. But I cannot guaranty that even this amount of disclosure will satisfy everyone. Even then, I suppose that some will look for skeletons in closets, or search for sliding walls that might conceal a dungeon.

[Source: burningman.org]

This did not in fact happen. Black Rock LLC’s financial records are still secret. The new organization, The Burning Man Project, is required to disclose their IRS Form 990, which is a publicly available document. They revealed what they are required to by law, and very little more. They arranged a story in Philanthropy magazine that they then pointed to as “proof” that they became more transparent. See 2014 Afterburn Report: The Death of Transparency and A Balanced Perspective’s guest post Unlikely Leader in Transparency.

The public information reveals not so much a dungeon as a giant treasure chest. Enormous amounts of cash that are being kept in the coffers. The financial reports in prior years disclosed more to the community. And the reason they were public in the first place? Because the community makes Burning Man. We The People have a right to know, because our money creates the Org to deal with the cops and the road signs and the lighting of The Man. We want to be sure our money is well spent, and not wasted on international junkets to festivals by the year round staff. The new reporting format does not deliver this, at all. There appears to be absolutely zero oversight of these matters.

As A Balanced Perspective pointed out, in an interview with Scribe in the SF Bay Guardian at the time the transition was first announced in 2011 they mentioned a second payout:

Yet Harvey and the other board members, such as Michael Mikel and Marian Goodell, insist that the board plays an important role in shepherding the event and the culture that has grown up around it, which is why they plan on waiting three years to turn control of the event over to the new nonprofit, the Burning Man Project, and another three years after that until they liquidate their ownership of the name and associated trademarks and are paid for their value.

This certainly suggests a further payout is due, one based on the value of the trademarks (very high) rather than the operating business (quite low). Control of the event was handed over to the non-profit The three years mentioned coincides with the planned dissolution of Decommodification, LLC. Which should be now. I couldn’t find any mention of it at all in the 2017 Annual Report.

Back to Larry:

So let me make one last comment regarding Decommodification LLC, which is viewed by some as a sort of sinister outbuilding that is separate from both the event organization and the Burning Man Project. My fellow founders and I are the sole members of this entity whose chief property is the name “Burning Man”. This too will be transferred to the non-profit in three years time, unless the partners elect “not” to do so by a unanimous vote. This arrangement is designed to force our hand.

The Burning Man event organization has used this trademark power to protect our community’s culture from being exploited. We have done this very diligently over several years (it is a right of ownership that must exercised, or it will perish). Furthermore, we have not relied on licensing this intellectual property as a source of revenue. The reason for this 3-year interval is that even we do not invest blind faith in the new non-profit’s workings, and we want to be perfectly sure that it can be relied upon, in the face of temptations that arise within any organization when dealing with power or money, to pursue the policies that we have practiced.

[Source: burningman.org]

Larry is saying that unless the partners vote unanimously to stop it, the intellectual property held by Decommodification LLC transfers to the Burning Man Project this year – presumably triggering a large payout. Who are the partners? The story at the time was that this was the “6 Founders” of Burning Man. Who is it today? According to Corporation Wiki, something different.

Without Larry (may he Rest in Peace), that leaves Marian and Harley as managing members, along with Crimson Rose and Director of Finance Doug Robertson who seems to have been engineering this corporate restructure since he joined in 2009. Will they vote to pass all the intellectual property back to the Burning Man Project? Or will they vote to keep it where it is, in a private company with no oversight that owns assets worth (at least) tens of millions of dollars that they completely control? We know that Decommodification LLC earns royalties from the Burning Man Project for the use of the trademarks. As best we can tell, it’s $75,000 per year. How much do museums pay? How much gets earned from documentaries, soundtracks, calendars, and other users of the brand? This information is a closely guarded secret.

We have already seen the legal resources of The Burning Man Project being employed to protect the value of the intellectual property owned by Decommodification, LLC.

Time flies. “It’s already been a few years, what’s a few more”? From the 2014 thread discussing the transition at Burning Man’s site; my opinions have not changed in the past 4 years:

A great comment along these lines from Dave:

[Source: burningman.org]

One of the things mentioned at the time of the transition was the concept of a “Dead Man’s Switch”. Danger Ranger was rather proud of having inserted this:

The sole purpose of Decommodification LLC is to protect the Burning Man name and I’ve programmed it to automatically dissolve after its mission is completed. Larry has the last word on the Transition discussion. (But I am pleased to note that I am the one who programmed the deadman switch into Decommodification LLC.)

[Source: Danger Ranger Facebook post, 2014]

Sounds wonderful, doesn’t it? “Don’t worry about anything because I programmed it to automatically dissolve”. It is easy for these people to say things, but you have to use logic, not just listen to the words. Organizations that deal in the truth don’t employ Ministers of Propaganda. From the Bylaws of the Burning Man Project:

The clause above says “nobody can make any money off Burning Man”, which is the argument One Who Doesn’t Know This Dude has been making. But…there’s a but. It also says “except the Founders”.

Here’s what Larry said at the BJ:

The truth is that the Burning Man Project now employs all but one of the former owners of Black Rock City LLC.

This means we have surrendered all rights of ownership.

But that wasn’t the truth. The truth is they didn’t surrender all rights of ownership. It’s there in black and white in the bylaws.

If the “sole purpose” of Decommodification LLC was to dissolve itself once the transition to a non-profit was complete, there would be no reason for this exception clause to be in the bylaws that constitute the organization. It could be covered as part of the sale agreement, or the contract that the “three year dissolution” clause is in (if that is a different document). Instead, it appears that it was extremely important for the founders to put that in the bylaws. Their right to profit from the IP cannot be taken away, ever. I can’t find any mention in the bylaws of this Dead Man’s Switch, which is strange because the bylaws describe many other situations that require unanimous consent of the directors.

Likewise, if Decommodification LLC is designed to self-destruct as soon as the org has adjusted to being a non-profit, why did they amend the ticket terms and conditions with this?

Here’s what the Org said in their 2013 Afterburn Report

Burning Man is much bigger today than when the new Burning Man Project entity was announced in 2011 then announced as complete in 2014.

More than 4 years later, and the true value of Burning Man is still in a private company, not the non-profit. So how can the “transition to a non-profit” be complete?

IP = Intellectual Property = Intangible Assets. It is the brand of Burning Man that lets them charge $1200 a ticket to create Black Rock City. It is the brand that sells out the Smithsonian with lines around the block. And it is the brand that does a licensing deal with Intel and Second Life.

This exhibit is just the start. They can take that on the road, and with so much Burner art sitting in warehouses, they can curate multiple exhibits. When a museum hosts a Burning Man exhibit, is that gifted? If Intel makes promotional videos about virtual reality there, is that gifted? Do these corporations make a donation to the Burning Man Project? Or do they pay a royalty to Decommodification, LLC? Or both?

From the 2017 Annual Report:

Museums and Public Art

This feels like a new chapter in Burning Man’s history for multiple reasons. The fact that traditional arts and culture institutions are interested in curating Burning Man exhibitions is remarkable, but it’s important to note that these institutions came to us seeking a collaboration because they recognize Burning Man as an important arts and cultural movement (something we’ve all known for a long time). Not only are the work and stories produced by our culture seen as legitimate, they’re relevant, perhaps even necessary.

And it’s a healthy creative challenge to figure out how best to create a Burning Man experience for museum goers and participants outside of the great “tabula rasa” in the desert, while protecting and celebrating the things that make Burning Man so decidedly special and different. It has always been interesting to ask what the outside world finds meaningful about Burning Man, but given this new level of interest, there’s a new, more interesting question: What is it about this moment in history that makes Burning Man so relevant?

I hope that Larry’s vision as he originally explained it is realized, but that hasn’t happened yet. Instead it seems like the Burning Man experience is being packaged up for consumers in museums. Commodified.

If the year-round philosophy center at Fly Ranch gets built as it has been described to us for many years, awesome. If the road gets upgraded and local community concerns get addressed, awesome. If we can deal with the trash and environmental damage of 100,000 people, awesome. If everything owned by “Decommodification LLC” gets handed back from that private and secretive company to the registered non-profit, as was promised for 2018, awesome.

Until we see those things, the idea that “everything will be awesome!” is a LEGO kids movie. You have to consider the track record here. My opinions are formed carefully and backed with supporting evidence. Many of them have already proven true over the years. As for the ones above, I am hoping for “awesome”. Even after everything we have seen and discovered since my involvement began in the 90’s, I still hold out hope. Because Black Rock City is built by THE PEOPLE, not the fucking Org. It is the amazing artists who should be sharing in the spoils, not living year-round on the poverty line in dangerous fire trap warehouses, committing suicide in despair, etc. while a select few reap the rewards and the glory.

Larry Harvey said many times “Burning Man is a model for the future of civilization”. Synarchy is the wrong model.

Rockstar Librarian 2018 – A Great Way To Help With Communal Effort, Gifting,and Radical Self-Expression

If it was up to BMorg, Burning Man would have no music and would be 100% transformational blowjob workshops. Fortunately we have about 1000 stages, 10,000+ DJs, and RockStar Librarian to help us ignore their foolish ideals.

This year, Rockstar Librarian wants to make the world a better place with music. Support her – if you like music at Burning Man, you will appreciate her guide which comes from a team of volunteers every year. Thank you so much to Rockstar Librarian and her team, and thank you from the bottom of our hearts to all the DJs, art cars, and sound stages that have ever played at Burning Man – it’s you who makes the party.

If you’re going to support any art project this year, support the music.

Check out our collection of mixes from previous Burning Mans at our Music page.

 

Here’s Our Chance to Leave A Legacy

In order for an angel investor to fund the 2018 RSL Music Guide, we need to raise $11,000 for Josie’s Well/Water Access Now, a non-profit to build a safe water well in Ghana.

We have until August 15th to raise the funds and still get the Music Guide produced and to the playa.

So let’s work together to create the music guide, create lasting change in Ghana, and leave a legacy.

I’ve also streamlined my RSL contacts database so everyone gets the chance to get the Music Guide and notices.

The Why: The Story

I didn’t realize how powerful leaving a legacy was until I attended AfrikaBurn in 2017.

It was in the wee hours of the morning sunrise, sitting under the DMV’s red beduin tent while sipping South African boxes wine, that I engaged in philosophical conversations with AfrikaBurn founders Paul Fletcher, Paul Jorgensen and Robert Weinek.

In those wee hours we discussed, “What comes next, from Leave No Trace?”

These beautiful, gritty influencers had an intention: Leave a Legacy.

For AfrikaBurn it looked like this: save plywood from dismantled camps and build outbuildings for a local school; leftover non-perishable food to stock an orphanage’s pantry. “We have so much,” they all agreed.

Then earlier this summer I met an eleven year old girl named Josie, from Seattle, Washington area, who at age nine, raised the money to build her first well in Ghana.

She created her own non-profit, Josie’s Well, in partnership with the local non-profit Water Access Now, and now at age eleven, Josie has realized her vision threefold!

I recently shared both stories with a Burner friend of mine and Music Guide supporter. And on the spot he proposed a challenge:

If we rally the Burner community to raise $11,000 to build a well in Ghana, he’d fund the entire 2018 RSL Music Guide. 

If Josie can do it, WE can do this!
 

The HOW:

Your simple way of participating is key to making this happen.

* Make a tax deductible donation to Burn for Water: Leave a Legacy GoFundMe page
* Forward this email to tribes of Burner friends, campmates, and community
* If you have a following, please send this email to your email list
* Share the Burn for Water: Leave a Legacy GoFundMe Page on your social media

Let’s leave a legacy together!

Big Dusty Hugs,

Kate Houston,
the Rock Star Librarian
Share this message on your social media & forward in email:

Share
Tweet
Forward
PS. I have answers to your questions. So ask them!

  • Josie’s Well and Water Access Now are volunteer run and committed to transparency, passing donations directly onto building wells in Ghana.
  • Water Access Now has a sustainability plan in place so that wells don’t just get built and left in nonfunctional disrepair, and it includes community & civic investment & involvement.Your tax deductible donation goes directly to the charity.
Burn for Water: Leave a Legacy!

Burner Art Becomes Symbol Of Hope In Fire Disaster

Our heart goes out to everybody affected by the unprecedented California fires. One place particularly affected was Paradise Ridge Winery, which hosted many Burner art pieces in the Voigt Outdoor Sculpture Collection.

We told you about this amazing North Bay Burner art collection in our 2013 story Temple Burns: Not Just For Burning Man Anymore and discussed some mainstream media coverage of it in the 2014 piece  A Permanent Temple in Paradise

Laura Kimpton and Jeff Schomberg’s famous piece “LOVE” was there, and survived the burn.

Here’s Burning Man beat reporter Jenny Kane, writing in USA Today:

SANTA ROSE, Calif. — Amid a charred grove of oak trees, one relic still stood this week at the Paradise Ridge Winery — the 12-foot-tall, four-letter word: Love. 

The sculpture, which originally debuted at Burning Man in 2007, is probably the most iconic piece of art at the Santa Rosa winery, which over the years has collected dozens of pieces for its sculpture garden, many of them originally from Burning Man. The sculpture, a rustic steel sculpture stamped with flying birds, is popular with newlyweds and is the work of Reno’s Laura Kimpton and Jeff Schomberg.

“That ‘Love’ sculpture has become a symbol of hope in Sonoma County,” said Sonia Byck-Barwick, whose parents opened the winery in 1994. “As my brother said, love conquers all. He took that photo when the property was briefly opened on Monday, and it’s gone viral. High school kids are sharing it on Snapchat and Facebook. It’s their symbol that it’s going to be OK. I mean, how can you not love a sculpture that says love?” 

The winery was largely destroyed Sunday night in California’s deadliest week of wildfires. One photographer captured images of wine simmering across the hot ground in the aftermath. More than 8,000 firefighters are battling the 21 wildfires that so far have killed 40 people, burned more than 200,000 acres and destroyed an estimated 5,700 homes and businesses. 

The art, however, and most of the Paradise Ridge Winery’s grapes, miraculously survived. Most of the winery’s supply also was in storage, so the business will be able to sell its supply to other distributors.

It’s Santa Rosa, not Santa Rose. Connected to Santa Cruz, the rosy cross – home of the first ever Acid Test. Read the full story here.

The winery was “largely destroyed”, but the art, the grapes, and the harvest miraculously survived. Perhaps the art and the temple and the love brought good luck to Paradise Ridge.

The sculpture survived the fire singed but standing strong. SFGATE

The Temple visible in the background indicates this is not a current picture. Image: Facebook

The Anti-Burning Man

The New York Times has a story about the Bombay Beach Bienalle at the Salton Sea in California.

They just had the first one, seems like it was a hit. Art, opera, and weirdness: sign me up.

The Times have coined it the Anti-Burning Man.

Last weekend, a mostly abandoned town on the Salton Sea was transformed into a pageantry of art and opera and weirdness.

The three-day Bombay Beach Biennale was free to attend, unpublicized and driven by a mission of local engagement.

Call it the anti-Burning Man.

The idea came from Tao Ruspoli, a Los Angeles filmmaker, who years ago became fascinated by the Salton Sea, a onetime tourist mecca straddling the Imperial and Coachella Valleys that has succumbed to environmental decay.

He started visiting often and even bought a house in Bombay Beach, a speck of a town on the eastern shore.

“This idea of Bombay Beach Biennale popped in my head because rather than play up the sadness of the place,” he said, “I thought it would be more interesting to play on the surrealness of the place…It’s such a mixture of contradictions, of natural and unnatural, of beautiful and ugly.”

[Source]

Forget Leave No Trace. These artists want to leave it better:

Mr. Ruspoli partnered with two friends, Stefan Ashkenazy, an art lover and hotelier, and Lily Johnson White, a philanthropist and member of the Johnson & Johnson family.

Last year, the trio self-funded the inaugural festival, under the theme “Decay,” and invited artists, philosophers, writers and other assorted merrymakers from their network of friends to join. It was a hit.

But rather than simply clear out once the fun was over, the festival has aimed to reinvent some of the abandoned buildings in town as permanent art spaces.

“The ethos is to be playful but also leave a lasting impact to the town,” Mr. Ruspoli said.

[Source]

The Johnson (and Johnson) family are full of interesting characters, to put it mildly.

crazy rich

Stefan Ashkenazy is the owner of La Petit Ermitage, one of the commercial hotels doing pop-ups at Burning Man VIP camps.

petit ermitage

And as for the third player in this trinity, the description of “film maker” doesn’t quite do him justice:
Tao Ruspoli is an Italian American filmmaker, photographer, and musician. Ruspoli is the second son of occasional actor and aristocrat Prince Alessandro Ruspoli, 9th Prince of Cerveteri and Austrian-American actress Debra Berger. He is the older brother of Bartolomeo dei Principi Ruspoli, second husband of oil heiress Aileen Getty.
A prince(ling), whose sister-in-law is a Getty. No big deal. Oh and he got engaged to Olivia Wilde at Burning Man and married her at 18 on a school bus
olivia wilde tron
The Salton Sea is a seriously trippy place.

This year the Biennale theme was The Way The Future Used To Be. There were more than 100 artists and performers, with attendance “in the hundreds rather than thousands”.

Carmiel Banasky in LA Weekly described the psychedelic space station and other accoutrements:

My first stop at the fest was a Mad Hatter-esque tea party, where cake pops (made by a local family), joints and edibles were passed around while fairy women made bondage art in the branches. Along the beach was a lifeguard stand turned into a psychedelic space station. Colorful smoke bombs set off at sunset through large sea creature cut-outs asked us to remember where we were, while the outdoor bar next door (tended by men in yellow bikini briefs) asked us to forget it.

Read the full story at the New York Times

Read the LA Weekly Story

See more photos on Instagram

An art installation on the sand at Bombay Beach. Credit: Jennifer Wiley
Photo

Artists explored the surreal setting of the decaying Salton Sea. Credit: Laura Austin
Photo

Men in yellow bikini briefs tended a bar at the Bombay Beach Club. Credit: James Frank
Films were screened at a drive-in theater featuring the shells of broken-down cars. Credit: James Frank
A performance at the Bombay Beach Opera House featured dancers from the San Francisco Ballet. Credit: James Frank

Resident of Oakland Firetrap Blames Burning Man Crowd

Breitbart News brings a first hand report of the history of the Satya Yuga collective that appears to have rented the property as a warehouse, yet somehow for at least 2 years had as many as 20 residents plus children and pets. Only one of the tenants perished in the blaze, resident genius computer expert and homeless Harvard graduate Peter Wadsworth. The other 35 dead were there for the rave all night underground EDM event.

https://www.dropbox.com/s/mxy5caqdbcn2efn/Screenshot%202016-12-12%2010.25.26.png?dl=0

The “Ghost Ship,” the warehouse and artists’ colony where 36 people lost their lives in the Oakland fire last Friday night, was “a serious attempt to bring the Black Oakland culture back into the art scene,” former resident Alexander Doré told Breitbart News.
However, that vision was overrun by what Doré referred to as the “Burning Man crowd.

“We called it ‘the space,’” Doré said. He described himself as a close acquaintance of Derick Ion Almena, the man known as the leader of the community, and one of his wife Mika’s close friends.

We didn’t even give it a name. It was meant to be private. None of it was for sale,” Doré said. “[Almena] wanted me to be a partner and I was brought over to the space by some local musicians and a lady who lived there because I was the third bass player in Sly and the Family Stone,” a well-known American band from San Francisco that was very popular from the 1960s through the 1980s.

Of the owner of the building, Oakland landlord Chor Ng, Doré said: “He should have applied for the permits.” The building was found to lack sprinklers and fire alarms, and the city’s efforts to inspect the premises were unsuccessful — though critics charge that local officials were lax in their duty to enforce fire codes.

“Ending up at this warehouse was part of my, I don’t want to say ‘downfall,’ but I got lost,” Doré said. He later left the community.

“I decided to say goodbye to Derick because I felt there was too much dark energy there due to the people living there,” he said, including youth that he claimed were into drugs, and who took advantage of Almena’s comparatively reasonable — although allegedly illegal — living accommodations in an area where skyrocketing rents have pushed traditional residents out.

Doré explained to Breitbart News that the vision behind “the space” was to revitalize and harness the Bay Area’s seemingly lost African-American culture.

[Source]

What to some is perceived as a “serious attempt to bring the Black Oakland culture back into the art scene”, is seen by others as the classic gentrification model. The (mostly white) artists get sent in to drive the black families out of the neighborhoods. Black artists might get invited in to create the appearance of integration; maybe you find another Basquiat. Usually the ones that make it don’t stick around in the same neighborhoods they grew up in.

I’ve seen it happen over the last 20 years in the Tenderloin, SOMA, the Mission, Hayes Valley, Oakland, and in downtown LA. I’ve heard about it happening in places like Dallas and Houston too. First they send in the crack, and ruin the inner city neighborhoods, driving property values down and spreading poverty. Foreclosures boom, and buildings end up in the hands of the banks. Then, the artists come in, usually following the drugs and not caring about run-down buildings because they can paint them. They get away with more street art because the neighborhood is otherwise decrepit. Get enough artists together in one area and it can be marketed as a “colony”. Then the gays come in. They do all the houses up and make the neighborhood flourish with their higher disposable incomes and on-trend tastes. They don’t mind that the area is unsafe for children, since generally they don’t have them. Then the hipsters come, also without children. And then the rich yuppies. By then, the neighborhood has become safe for children again: private school children. Most of the people who built the community can no longer afford to live there and are no longer wanted. Then  comes the foreign money, looking for a blue chip home for their offshore investments. By this point the mortgages have been pooled and collateralized and synthesized and repackaged into bond and share offerings. The jobs left are service jobs, and if there is any art left is in high end galleries.

I’m sorry if anyone finds that description offensive, but it happens time and time again with such consistency that it cannot be coincidence. It is either a biological wiring, something in the DNA of humanity; or it is a long-term plan of social engineering – so successful that it keeps being repeated, regardless of the consequences. Hollywood itself began as one of these occult artists colonies. Qui bono? Follow the money. When an Oakland townhouse goes from $100,000 to $1 million, imagine what that does if you own 20-story buildings and entire city blocks.

My information is that the rent to be part of the Fruitvale Satya Yuga collective was $5,000 per month and the residents were paying $750 per month – which would be $15,000 per month if all 20 paid the same. If anyone can confirm or correct this please comment. The money clearly was not reinvested in safety, but it does indicate the potential real estate profits lurking darkly in the background of this and other tragic fires.

One resident, who had a fire extinguisher in hand and discarded it for a cat carrier, described the space as “amazing”, “beautiful”, and “family oriented”. YMMV.

Kelber woke up to hearing someone screaming “fire” and grabbed a fire extinguisher. She opened her gate and looked down the hallway and saw 15-foot flames, “a giant fireball.” 

She then tossed the fire extinguisher, realizing it wasn’t going to do her any good, and tried to grab her cat carrier from a loft area.

“I was almost knocked unconscious by the smoke,” she said. Then the power went out. The smoke pushed her window open, which let in air that fueled the fire.

She grabbed her cat and ran out. “The fire trucks still weren’t here so I went racing around the corner screaming ‘fire,’ carrying my cat.” 

Kelber and Frito said that they thought 22 or 23 people lived in the building, which was 10,000 square feet.

“It was one of the most amazing, beautiful spaces,” Kelber said.

She said somebody was always working on a different project, or cooking something.

“It was one of the most amazing, family-oriented spaces,” she said. “That’s why it was created.”

The idea that it is acceptable to have all night dance parties in family oriented spaces is not widely shared throughout the rest of the world. Even in Melbourne, arguably the world capital of warehouse parties, the “artists” would not try something like this. The police and family protection services would be there in a heartbeat. So why would it be socially acceptable in the San Francisco Bay Area?

This is an example of why the propaganda that “kids at Burning Man are fine” is dangerous. The argument goes like this: “All these smart billionaires go to Burning Man, and people take their kids to Burning Man, therefore it is smart to have all night dance parties around children”. This is a logical fallacy, a non sequitur.

I don’t see too many billionaires bringing their young children to Burning Man, why is that?

There is a great deal to be said for the good old-fashioned family unit. One man, one woman, and the biological children generated by mixing their genes together. Bringing the children up with good values, in an environment of love, promoting honesty and kindness. This model has taken humanity this far, why do we need to attack it? To go back to the Dark Ages? I am all for including other lifestyles, but surely nobody thinks it is OK that children lived in this place surrounded by skulls and occult imagery.

This music video was filmed at the Ghost Ship warehouse. It is full of occult symbolism and mind control visual techniques. The name “ROCChilds” seems like an almagamation of Rockefeller and Rothschild, as well as a nod to Illuminati rapper Jay-Z’s record label ROC-A-Fella records.

The song is not bad, with some impressive guitar work at the end. But the imagery is very concerning, in light of the holocaust that subsequently occurred at this temple to Shiva.

screenshot-2016-12-12-09-54-41

Crypto-landlord Derick Ion Almena and his partner Micah Allison make a cameo in the video