Founded On Fire Magick

Fest300 has just published a lengthy interview with Burning Man Founder Crimson Rose. Are they the new Voices of Burning Man?

The article is very interesting and I encourage you to read it in its entirety at Fest300. I want to highlight in particular the occult and marketing aspects of this. The emphasis is ours:

Every year, hundreds of accomplished fire performers throughout the world wipe sweat from their brows, cross their fingers and submit an audition reel for the experience of a lifetime. If accepted, these “conclaves” are granted exclusive access to the Holy of Holies at the godfather of transformational festivals: the Great Circle at Burning Man . They’ll be among the select few taking part in a ritualized fire dance as a gift to all the fest’s participants, and as tribute to the epic burning of “the Man.”

Out of all the myriad forms of artistic expression found at festivals today, many are grandiose achievements by incredible men. But the hearty warmth, nurturing, and acceptance that pervade these places are divinely feminine. Perhaps the archetype who best captures this quality is Crimson Rose , the fire performance community’s celebrated heroine and a founding board member at Burning Man.

Often hailed as “the godmother of fire arts” (she was the first-ever fire dancer on the playa), Crimson reviews conclave auditions with a panel of legends to select the crème de la crème for the ceremony. Year after year, fire performers strive just to be a part of her continued legacy by pouring their souls into their Burning Man performances so the tradition is passed with grace on to the next generation.

To learn more about this sacred art, we caught up with Crimson Rose, who graciously took some time with us to talk about the origins of fire performance, the history of fire dance at Burning Man and the future of man’s first invention in the festival community.

Before joining the Burning Man community in her current role, Crimson was a fine art model and dancer for 27 years. In the 80s, a good friend passed along the art of fire dancing. Coming from a background in theater and dance she took to it quickly and fostered an intimate relationship with flames.

And when they say “intimate relationship” in this puff piece glowing tribute, they’re not kidding:

“…to me, that was really the journey of magic that I discovered not only within myself, but in fire dance itself.”

In those days, everybody danced but nobody danced with fire. What Burners now enjoy out on the esplanade is an evolution of many ancient dancing-based traditions – which only became more tribal once flames were introduced. “I don’t do poi and I don’t do staff,” she said. “My dancing is really handling torches and a bowl of fire, dipping them into the fire and laying that on my body.

Sometimes called fleshing, this technique has been passed down through tribal civilizations for generations. It’s sensual and intimate, and sparks a very special rapport with fire, both for the viewer and the performer.

Righty-ho. Nothing too occult about that is there, worshipping fire so intimately that you want it laying on your body, “sensually”. Perfectly normal behavior, everyone does it, Marge Simpson‘ll be into next.

When we asked about her first-ever dance, she said, “I discovered things about myself because I felt like the fire was a sort of essence of all life. Although, it really is more a phenomena in some sense because there’s a magic to it…That magic, for a lot of fire performers, is the hottest part of the flame…“It was also as if the fire was sort of leading me on its own journey. Sort of provoking me to bring it to life.””

Burning Man Darren Keith Processional

In this photo by Darren Keith, note the Devil Horns on all the keepers of the sacred flame, who stride like giants above us in their Procession to The Man

Without question, this person believes that this is a magick ritual she is performing, in the much larger magick ritual of Burning Man. She was recruited into the Organization Project in 1990 – 7 years before Harry Potter came out – specifically to perform this magickal role.

The Man looked a little different back in 1986

The Man looked a little different back in the early days

We asked how she got involved with this desert social experiment in the first place. She thought for a bit, and took us back to a time before that first dance, to an email and a phone call with the man often accredited with launching Burning Man, Larry Harvey himself. “In 1990, I had a conversation with Larry Harvey and he talked about a thing they were doing. He had sent me a video of what they did the year before. It was really dark. It was a lot of fire and I couldn’t figure out what the hell they were doing.”

…she said to herself sarcastically. “I’m gonna be really cool because I don’t know what the hell these people are doing. They started pulling and a man raised up, and something clicked in me.” Crimson explained. “I didn’t know what it was. But I knew that I had to go to the desert.” Footage from the prior year continued to beckon her to visit. Seeing a man in the film breath the fire that ignited the effigy was enough to inspire the trip.

Igniting the effigy, from the magickal cauldron called El Diabla. Inside the pentagram and the 0.666% circle.

“I always felt like I was sort of a freak. You know, that I never fit in. Not with my family. Not with the school. And all of a sudden I felt like I was among my family in the desert.”

Yep, that’s the marketing pitch. Play to the social element, give the reason why all the freaks should buy tickets to this transformational festival. They don’t have to look beautiful and glamorous and cool like the people at other festivals. But maybe once they spend $400 and brainwash themselves at the self-service cult, they will walk away feeling Burnier-Than-Those People.

Back to the occult bits:

At the center of her magnetic attraction this new subculture was this effigy, over which Crimson grew protective. In one of her first encounters with it, “one of the very first things I did is I had these 16-foot-wide silk wings that I wore as I climbed the Man.” People were astonished to look up and see what looked like a fairy climbing to the top of the figure’s shoulder. “I felt like that at that point, I was the protector for the Man. If the man was going to be released we had to do it in the best way that we could, so that year I got a chance to actually help set him on fire.” For the first time, the magic of dance kicked off the legendary ceremony.

Dance, magic dance.

We must all worship the fire. Like Druids.

Despite an urge to push the envelope every year, rules now exist with a sort of informal reverence for the Great Circle. The fire is hallowed and respected

…Fire dancing at Burning Man spawned greater mysticism and creative energy, along with an appreciation for the accompanying rituals and traditions from which fire dancing came.

The flame that Burns the man is lit in a magickal cauldron named El Diabla. Image: Dust to Ashes/Flickr

The flame that Burns the man is lit in a magickal cauldron named El Diabla. Image: Dust to Ashes/Flickr

Image: Blip.TV documentary on Helco

Image: Blip.TV documentary on Helco

“Spawning greater mysticism” is presented here as a positive. Is this black magick, or white magick? It happens at night in a pentagram with people wearing devil horns and a fire lit from a cauldron named El Diabla; the corporation they started around it chose to launch with Helco parties where they got a lawyer to draw up contracts for people to sell their souls to the Devil. It seems pretty obvious to me which side we’re talking about, but your mileage may vary.

The suggestion that Crimson Rose invented incorporating  fire dancing in sacred rituals at Burning Man in 1991 is ridiculous, as anyone who has been to a South Pacific island could tell you.  

Back to the sales pitch:

One of the great joys of Burning Man is that it provides a space for us to go and learn about one another and ourselves through such rituals. Those who travel to the playa often report feeling more distant from what is familiar. Many, like Crimson Rose, find deeper connection. This will be her 24th Burn on the playa, and she told me, “Every time I go I feel I’m coming back to a place I’ve always been. You know, it sort of reminds me of home.” [Source: Fest300]

mcsatans

Image: Geek Times

Even in the sales pitch there are quite strong occult and psychological elements.

I’m not sure how things could be made more clear to you, people. This is one of the Founders of Burning Man laying out for you specifically what goes on, what she was recruited into the organization to add to their Project.

An occult black magick ritual ceremony of fire dance. It’s more than just a rave in the desert…


 

We have published quite a few articles on the spiritual and occult side of Burning Man in the past. We have a lot of new readers now who probably have never seen some of our earlier work, I would encourage you to check these out: and think for yourself.

2014:

 The Magickal Symbols Are Displayed, The Occult Ritual Can Commence

Brainwashing: the New Billionaire Obsession

Creating God in the Digital Age

Satanists With Guns

2013:

Magic On A Grand Scale

2012:

Seeking Divine Truth at Burning Man

Finding Jesus at Burning Man – a Christian perspective

“Theater in a Crowded Fire” – Spirituality, Burning Man, and the Apocalypse – Neo-Paganism

Hidden Dangers of the Rainbow – Paganism, Wicca, Druids, Lucifer

Ghost Trancing on Sacred Lands – Native American

Burner Principles vs the 10 Native American Commandments – Native American

Burner Fundamentalism – Burning Man’s own religion

Looking for the Next Evolutionary Step – Buddhism and consciousness

 

 

Burning Man: Back to the Future

by Whatsblem the Pro

Or you can just sit there forever in your Rules-Royce, sucker

Or you can just sit there forever in your Rules-Royce, sucker


Whether the topic is children on the playa, cops on the playa, feathers on the playa, or just rules in general on the playa, burners are going to argue bitterly and at great length about it. Any time these topics are raised in any burner forum online, the conversation draws hundreds of comments, many of them aggressive to the point of abuse. It’s as though the desert fosters endless dispute in spite of all the groovy talk about togetherness and family and unity of purpose.

How can we resolve these seemingly unresolvable disagreements?

Consider the original reasons for going out to the Black Rock Desert in the first place; it was largely because the remoteness and harshness of the place made it a good place for a Temporary Autonomous Zone. It was a place where you could get your dog good and drunk and let him drive your car across the playa at 120MPH while you leaned out the passenger window, peppering the drive-by shooting range with buckshot. . . and there was nobody who could tell you with any authority that anything about that was wrong.

Ever since Larry Harvey and his gang co-opted that freedom by putting a fence around it and selling tickets, you aren’t even allowed to bring your dog, much less get him drunk. The speed limit is 5MPH, and firearms are frowned upon. . . because as everyone will tell you if you happen to lament those bygone days, the event is just too big for it to be practical to not have any rules. While that’s probably very true, it’s also true that without the fence and the tickets the event may very well have remained small enough for it to be OK. . . but I digress.

When the festivities on Baker Beach grew too large to avoid unwanted attention from the police, it became clear that San Francisco was no place for a Temporary Autonomous Zone of any size, as it would not and could not be tolerated by the locals. . . so, thanks to the Cacophony Society, a TAZ capable of supporting Burning Man as it existed in those days was established in the Black Rock Desert. Now Black Rock City itself is so big that the locals there balk at the idea of having no rules. . . so instead of discarding the best thing about the event in its early days, why aren’t we establishing a new TAZ to serve the needs of the woolier, more freedom-loving denizens of Black Rock City?

The obvious answer, of course, is that no matter what Larry Harvey or Marian Goodell say in speeches and press releases, Black Rock City LLC is a corporate business entity that exists for the purpose of making money, not for fostering anything too radical in the way of culture, and that purpose is inimical to the very idea of autonomy. The Disneyfication of the playa marches ever onward in the name of profits, and public relations problems are dealt with in the corporate way: by paying people off and covering things up. For example, I speculate that rape kits are not available at Burning Man, not because the environment is too harsh or the chain of custody being too difficult to maintain; but because having rape kits on the playa would mean that far more rapes at Burning Man would be reported, instead of shrugged off and forgotten about. Many rape victims would rather stay at Burning Man and quietly put the rape behind them than spend the rest of the burn in a Reno hospital talking to cops and doctors. In short, maybe we don’t have rape kits out there because it would hurt the corporate brand that the Org owns and profits from.

The profit motive is what brought us to this, and the profit motive has swollen the numbers of people attending to the point that most of them no longer have much in common with the free spirits that came to share their visions with each other in the early days of the event. At this late date, any proposal that suggests Burning Man might return to its origins of envelope-pushing freedom is immediately shouted down as unreasonable and unrealistic.

Imagine, though, a designated area on the playa – for waiver-signing adults only – with no rules. A place near enough to BRC to get to easily, but far enough away that gunfire isn’t a problem. A controlled-access TAZ. An anarchy park, within the confines of Burning Man. A place with no cops, no rules, and no limits.

Black Rock City can grow and grow, and so can the rules and the Disneyland-like aspects and the mandated safety and the numbers of children and the vast hordes of finger-pointers and burnier-than-thou shamers. . . and we’ll still have (we’ll once again have) a place to be ourselves, completely unfettered by anyone’s rules or expectations.

Comments are encouraged.

Sunshine Superheroes

by Whatsblem the Pro

Looks like that troublemaker Sol is in jail again

Looks like that troublemaker Sol is in jail again


Black Rock Solar, a non-profit run by superhero burners, has just completed the installation of a large photovoltaic array on the roof of another non-profit that serves the homeless and hungry in Carson City, Nevada.

The array consists of 130 solar panels delivering a whopping 28 kilowatts of unmetered, mostly green electricity to Friends in Service Helping (FISH), Northern Nevada’s largest services provider to those in crisis. FISH provides a dizzying panoply of services to the needy, and served 18,337 Nevadans in 2012 alone.

The solar array is expected to cut FISH’s electric bill by an estimated $6,500 per year. With a projected lifetime of at least twenty-five years, the solar array – which cost $112,000 to build, at no cost to FISH – is worth approximately $162,500 in energy savings.

Jim Peckham, Executive Director at FISH, was quoted in Black Rock Solar’s press release, saying “the savings from this array will make it possible for us to do more for our people. For example, it could double the amount of food we can serve in our dining room, or cover the cost of the insulin we provide to diabetic patients.”

With the project completed just in time for the holidays, FISH will be able to put even more on the table at their 2013 Thanksgiving dinner for the homeless and indigent. Along with cooked meals served in their free dining hall, the non-profit organization also provides those in need with groceries, showers, clean clothes, counseling, shelter space, and a free medical clinic; FISH also operates several thrift stores in the area, but 95% of their yearly budget comes from donations. Their motto is “not just a handout, but a hand up.”

Funding for the solar array came via a large rebate from NV Energy, supplemented by crowd-funding conducted by Black Rock Solar. Thanks to the rebate, Black Rock Solar was able to provide $9.33 worth of free solar to FISH for every donated dollar. “It’s an exciting opportunity to see donation dollars doing real good in the community,” noted Patrick McCully, Black Rock Solar’s Executive Director.

“This has been a special project for us,” said Marnee Benson, Deputy Director of Black Rock Solar, citing both the technical challenges of installing the array, and the funding requirements. “We’re pleased the array is completed just in time for the holidays, so FISH can start channeling more of their donations directly into programs and services.”

This is not Black Rock Solar’s first rodeo by a long shot. On October 21st of this year, they won the Brian D. Robertson Solar Schools Memorial Fund Award after being nominated by the fund’s Board of Directors and then selected by public vote as the most deserving organization of 2013. The non-profit has installed a host of solar arrays totaling some 3.5 megawatts to date, all at zero cost or deep discount. Recipients of their energy-efficient generosity include a number of Northern Nevada’s other non-profits, along with Native American tribal councils, rural towns, and school districts. If you keep an eye peeled on your way in or out of Black Rock City, you just might see one or two of those installations along the way. The non-profit also makes a significant contribution on-playa at Burning Man each year.

Doin’ it right. Black Rock Solar, we salute you.

To find out more about Black Rock Solar, visit their website at http://www.blackrocksolar.org, or drop in on their Facebook page.


Black Rock Solar in Black Rock City, Burning Man 2011

They Ride Roughshod

by Whatsblem the Pro

The principle of Decommodification that so many burners hold dear takes yet another brutal pounding this week as Australian chartbusting singer-songwriter-actress Missy Higgins releases her new music video. . . ‘We Ride,’ also known as the theme from the film Spark: A Burning Man Story. The single, along with the rest of the Spark soundtrack, is now available on iTunes.

The film, featuring footage shot at Burning Man 2011 – in other words, images of thousands of unconsenting, uncompensated burners and the art they built and transported to the Black Rock Desert at their own expense – would be forbidden by the Decommodification rule, if not for the fact that the people who forbid you from doing things like making commercial films at Burning Man happen to have a large financial stake in this one.

If you or I attempted to release a documentary shot at Burning Man, and followed it up with a soundtrack and a single by one of Australia’s top musical acts, the corporation that runs Burning Man would initiate legal proceedings against us in the name of protecting the culture from commercial exploitation. The fact that they have no problem with that kind of profiteering as long as they themselves have a financial stake in it and get a cut of the money should tell us something: that, once again, they’re not at all interested in protecting us or our culture, and care only about making money and protecting their monopoly on exploiting us and our creativity.

If the culture, the event, and burners as a group need to be protected from predators with commercial interests, then there should be no exceptions.

When challenged on what some consider their money-grubbing hypocrisy, the Org typically has one of two general responses, depending on the nature of the complaint: either they take the stance that Burning Man is a culture in an attempt to justify the exploitation of so many hard-working volunteers, uncompensated artists, and other unpaid participants, or they take the stance that Burning Man is a business entity in an attempt to justify their iron grip on the trademarks associated with it.

How long will we allow them to have their cake and eat it too? If Burning Man is a culture, then everyone who participates in and contributes to that culture should share ownership of the trademarks, and either be equally allowed to profit from them, or equally forbidden from doing so. . . no exceptions! If Burning Man is a business, on the other hand, then there shouldn’t be a single volunteer putting in a single minute of unpaid work on it. So which is it?

The film has already made over a quarter of a million dollars since it was released less than three months ago.

It may be worth noting while watching this film that the general consensus among old school burners seems to be that it sanitizes quite a lot of the dark side of Burning Man, and functions a little too heavy-handedly as pro-Org propaganda, and not an accurate reflection of reality.

What else should we have expected? Caveat emptor. . . and caveat possessorum, too.

[update from BurnersXXX] – note the “ignite.me” in the video credits, that seemed like an independent site to me at first, but now it appears to be yet another sales and propaganda channel for BMOrg. It was launched in December 2012 and the movie premiered at SXSW in Austin in March 2013…

Burning Man: Love It or Leave It?

by Whatsblem the Pro

IMAGE: Whatsblem the Pro

“If you don’t like the way it’s run, go start your own event!”

When people start talking about the negative aspects of Burning Man – whether they offer solutions or not – it’s a good bet that others will cite the inevitability of change, and say things like “if you don’t like what Burning Man has become, go start your own event!”

It’s a sentiment that recalls a bumper sticker often proudly displayed on redneck pickup trucks during the Vietnam War era, that read “America: Love It or Leave It.” Like that bumper sticker, it expresses an idea that is strongly counter to the culture it pretends to support. Burning Man, like America, is supposed to be a participatory place where you take enough pride in your citizenship to actively criticize what needs criticizing, and try to fix it.

In more specific terms, “go start your own event” ignores and clashes with at least three of the much-vaunted Ten Principles – Civic Responsibility, Communal Effort, and Participation – as well as some of the most deeply-held unofficial tenets of our culture, like the idea of a ‘do-ocracy’ in which you are expected to refrain from merely complaining about problems you see in favor of actually getting involved in solving them. What’s behind “if you don’t like it, go start your own event” is a deeply jingoist attitude suitable only for insufferably flippant spectators who are assuming you are a spectator too. . . and a spectator is one of the worst possible things you can be at Burning Man without committing some kind of actual crime.

Even the corporation that runs Burning Man seems to put a lot of effort into encouraging burners to spread the culture around and start new events rather than trying to change the existing one. . . but what they don’t mention is that they insist you move forward only with their approval and their trademark licenses. In other words, you can go start your own event if you don’t like the way they run Burning Man, but you have to do it the way they — the people who run Burning Man — tell you to.

Corey Rosen, aka ‘Endeavor,’ hasn’t left Burning Man; he loves it and still works as a Greeter each year. He is, however, currently in the process of spreading the culture around by starting his own event. . . the Digital Renaissance Faire, a gathering that in spite of the name has everything to do with burner culture and burner values, and nothing whatsoever to do with the Renaissance Faire.

Since he — like nearly all burners — is creative and has ideas on how the Burning Man model could be improved, Rosen is doing it his own way instead of slavishly following the example set by the Burning Man organization’s decisions.

Possibly the biggest difference between Burning Man and the Digital Renaissance Faire is that, at Burning Man, only the corporation that runs the event — known as “the Org,” or “BMOrg,” or even “the Borg,” — is allowed to make any money. On the plus side, this means that nobody is trying to sell you drinks or t-shirts. . . but a miserly three to four percent of the ticket revenue is paid out as arts grants, while hordes of participants build and transport their art to the event without any remuneration at all, often spending huge sums to do so. In recent years, even the art projects lucky enough to get grants from the Org have had to turn to crowdfunding sites like Kickstarter and Indiegogo to raise the rest of the money necessary to build and transport the mind-blowing creations that are a large part of what makes Burning Man so popular and successful.

In contrast, the Digital Renaissance Faire issues shares to all active participants, in proportion to their level of participation. At the end of the week, any profits generated are distributed to the people who actually build the event, bring the art, put on performances, organize workshops, and otherwise contribute.

Corey Rosen and his Digital Renaissance Faire are not a threat to Burning Man; the DRF doesn’t take place the same week as Burning Man, for one thing. . . and the DRF is actually designed to facilitate Burning Man, by providing large art and theme camps with both a testbed where they can shake the bugs out of their projects before taking them to Black Rock City, and a convenient spot to store their gear year-round that is not terribly far from the playa.

Since Rosen practices transparent accounting and shares the event’s take with the artists, performers, and workers who actually build it and operate it, it would be seriously unjust to say that he’s trying to commercialize the aspects of the event that are inspired by Burning Man. If Rosen was trying to cash in on Burning Man’s cachet and ethos, he’d do it just like the corporation that runs Burning Man does it: by keeping the accounting secret, and keeping the lion’s share of the profits for himself. Instead, he directly facilitates the art, theme camps, performers, etc. by cutting them all in for a percentage. Meanwhile, at Burning Man, only three to four percent of the ticket revenue – which is not the only income generated by the event – goes out as art grants; furthermore, those grants only go to those few projects hand-picked by the people clutching the purse strings. . . and as for the workers who build all the infrastructure, most of them don’t get paid at all.

Corey Rosen, acting in good faith on the constant exhortations from the corporate heads of Burning Man, is trying to spread the culture. . . but he’s also trying to play fair with the money, and his transparent business model that shares the revenue equitably with the participants who build everything presents a serious threat to Burning Man’s Board of Directors. If Rosen succeeds and proves that his business model is sound, the tiny group of amateur oligarchs that own Burning Man will no longer be able to claim that such a business model is an unworkable pipe dream. If that happens, they may very well come under pressure to follow Corey Rosen’s lead, and finally step down from the back of the cash cow they’ve been riding for decades.

Rosen has a lot to teach us about what actually happens when you act in good faith by taking the Burning Man Org at their word, and do what they tell you to do.

[NOTE: As you read Rosen’s account of his dealings with Burning Man, keep in mind that most of the Ten Principles were not written by anyone at Burning Man. . . for instance, “Leave No Trace” began as an ad campaign by the Federal Bureau of Land Management, and came to the playa via the Cacophony Society.]

Corey Rosen speaks:

My first interaction with the Burning Man organization about the Digital Renaissance Faire was back in October of 2012. I got in touch with my main contact over there to tell him we were planning a co-op festival, and he said Burning Man could not sanction the event because the participants were being paid. He then explained to me that Burning Man is working on another way to work with events similar to theirs that are more profit-driven. I came to find out that certain events given approval by Burning Man do pay talent, so I didn’t understand why an event that pays all the participants based on the profit of the event would be a problem. I also found that asking that question might cause problems, so I chose not to.

For over a month, I reached out to my contact at BMOrg to work with him on making sure we were in compliance with the event we were inspired by, with little response. Most of the responses I did receive were to tell me that he was too busy to contact me.

Once we launched our website, I received this email from him:

You are not a sanctioned event and did jump the gun to modify the Ten Principles and list them as if they were your own invention and writing. For trademark purposes it is better to not alter something and instead link to the original thing in a way that is clearly not plagiarized.

I think you should actually take them down because the Principles can be misconstrued to be something you originated and they are not. They are clearly derived from Burning Man’s Ten Principles.

Right now my understanding is that it is better to say you have been inspired by the Ten Principles of Burning Man and link to them vs. change them and make them seem like they are your own. I think you should also say “this event is not related or affiliated with Burning Man or The Burning Man Project, but we have been inspired by the guiding Principles of Burning Man.”

I am uncertain at this point if you should even directly link to the Ten Principles. So I guess the safest thing you can do right now is remove the plagiarized ones you have on your site and simply say “we have been inspired by Burning Man and it’s guiding principles” and then we can talk again.

I’d rather you not promote your event at the Artumnal Gathering until we have had the proper time to review this. I am sorry, but these things take time to properly vet. As I told you on the playa we have about fifty official regional events a year and what you are doing does not fit into the process we have in place at the moment. What you are doing is not something we have done before and we are not prepared to recognize it as official or sanction it at this time.

I enjoyed talking to you about it on the playa but I also told you then that the “profit sharing” model and this not being originated through the regional network made it something that would require careful consideration and we cannot directly affiliate with it at this time. I am truly sorry I could not get complete clarity and meet with you when you wanted. To be perfectly honest I feel you rushed the process and even now at a time when I must focus my energies elsewhere you are being a bit demanding. I realize you don’t mean to be so, but I need to be clear that I gave you no permission on behalf of Burning Man to take the steps you took.

I immediately changed the text on the website accordingly, and received this follow-up e-mail later that same day:

Thanks and forgive me if I am a little edgy right now. It has been a very busy Fall and I am in final production mode for Artumnal Gathering.

Yes, it is fine for you to talk to people about your event and fine to tell them about your unusual concept and that you are a burner and are inspired by Burning Man.

I received no more contact until I reached out to him about my not getting on the list for the Burning Man Summit in April, which I found out three days before the event. Nothing malicious there, just someone forgetting to submit my name and getting no help from the Burning Man organization.

Some time after my last contact with the BMOrg, we decided to put together a decompression event. We even called it DRF Decompression. Less than twelve hours after posting the event details on Facebook, we received a message from Burning Man sent to my partner’s e-mail address, saying that we had to change the name of the event because Burning Man owns the name Decompression. I had multiple people telling me to fight it, but I chose to let it go, be cooperative, and change the event name.

The most recent interaction I had with Burning Man was right before the event. Since we are creating the Digital Renaissance Faire as a participation-funded co-op festival, we have been given many things to make this event successful. I had the idea of creating a Digital Renaissance Faire token to give out as a gift to the community that inspired us. I found a token company and we were going to buy a thousand of them and give twenty each to the DRF community members going out to Burning Man. When I told the owner of the token company what we were doing and what our event was all about, he decided to donate 10,000 tokens so I could give a hundred to each of our community members, to gift out at Burning Man. I thought this was a generous offer and graciously accepted.

Unfortunately, the tokens could not be shipped and in our hands until the Monday the event started. I posted on my page for help looking for a place to have them shipped to, and someone coming to the playa Monday night or later to receive them. Instead, I received a phone call from my partner saying she received a cease and desist order from Burning Man telling us that we were not allowed to bring our “promotional material” to the event.

I contacted their intellectual property attorney and spent almost two hours on the phone with him explaining that they are not promotional material, but gifts for the community that inspired us. Once he understood what our non-corporate community-based entity was all about, he said I could bring them out but only give them to campmates and close friends. 

If you’re in Northern California and you’d like to learn more about the Digital Renaissance Faire and maybe show a little support, you have a golden opportunity coming up on November 11th, when the DRF Synchronicity Celebration takes place simultaneously in three separate California towns: Vallejo, CA; Nevada City, CA; Lake Tahoe, CA.