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The author, Miles Mathis, revisits his earlier assertion that Burning Man is a military operation. He highlights the work of Steve Outtrim, a wealthy tech entrepreneur who invented HotDog, for continuing and expanding upon this research, producing a six-part video exposé. Mathis speculates that Outtrim may have been motivated by revenge against Bill Gates and his associates for past industry mistreatment.

Mathis states he is not reporting Outtrim’s findings but rather aiming to connect them to his broader theories about the decline of genuine art. He explains his lifelong distress regarding Burning Man and similar events, finding them to be a “military-circus frosting” over “home-made craft,” which he refuses to call art. He criticizes the event’s “grunge” aesthetic, simplistic techno-beat music used for “hypnosis and brainwashing,” and psychologically manipulative color schemes.

The author argues that Burning Man is part of a deliberate effort by the wealthy elite, including billionaires, the military, government, big tech, media, and academia, to kill off real art—art of beauty, subtlety, and elevation. This, he contends, began around the 1920s with families like the Rockefellers pushing out genuine artists and promoting “Modernism” as a means of money laundering and giving opportunities to untalented heirs. He draws a parallel to his experience in Taos, NM, where he claims Dennis Hopper and “the Moderns” destroyed the realist art market. He also connects Meow Wolf and its adjunct Paseo to this trend of artificially promoted, “stunted creativity.”

Mathis further explores the military connections, referencing the First Earth Battalion, conceived by Lt. Col. Jim Channon, as a precursor to events like Burning Man. This initiative aimed at social engagement with civilians for purposes of spying, propaganda, and destabilization, linking Burning Man to the Esalen Institute, which Mathis claims was funded by military and Intelligence.

He discusses Outtrim’s findings regarding the origins of the term “Burning Man,” suggesting it originated from a CIA document referring to individuals with security clearance to destroy documents, and links it to the Cacophony Society and Oliver North in 1989. The author also notes a connection to David de Rothschild, a prominent burner, suggesting a military rather than counterculture link.

Mathis analyzes specific symbols seen in Outtrim’s video, including the Cross of Lorraine (linked to Phoenicians and French forces), and “aces and eights” (linked to Phoenicians and Kabbalistic mysticism). He also points to Will Roger’s statement about the “cauldron that will cook their souls” as evidence of the event’s Satanic nature, linking it to the Phoenicians.

He interprets Crimson Rose’s description of the Phoenix as a collector and burner of energy as an admission that an entity, identified as the Phoenicians, literally feeds on attendees’ imagination and energy. Mathis also highlights the military background of Burning Man organizers like Stuart Mangrum (former Air Force Intelligence propaganda minister), Marion Goodell (former Department of Defense), and Jim Graham (former Lockheed Martin media operations head), reinforcing his argument of Air Force intelligence control.

Finally, Mathis grapples with whether the event is truly Satanic or if Satanism is a cover for the Phoenicians, who he believes control various industries and thrive on lies. He argues that these rituals are self-homages by the Phoenicians to their own flaws, a concept he sees mirrored in Modern art and science, where what they are capable of is declared “good” and what they are not is suppressed. He concludes by observing that the individuals involved in Modern art and science often lack genuine magic or mystique, appearing wooden and spiritless, suggesting that any stolen spirit at Burning Man is not manifesting in their vicinity.

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