The lessons are piling on from last Friday’s horrific ‘Ghost Ship’ fire in Oakland, California.
At least three dozen people died.
To recap: The Ghost Ship was an urban warehouse illegally and shoddily converted into cheap work-live housing for artists, musicians, and other creatives. Electricity and water were siphoned from neighbors, and frequently didn’t work. Pre-fire images show a cluttered maze-like space called both ‘beautiful’ and ‘horrible’ by ex-tenants. It was a tinderbox waiting for a spark.
City and county officials explain they’re too overworked and disorganized to effectively deal with the hundreds of other illegal ‘work-live’ sites in their area.
Neighbors explain they called officials numerous times about the infamous warehouse.
The building owners claim they had no idea it was being used as a living space, or that the interior was hideously not up to safety codes…even though they were cited numerous times.
The building manager has shrugged off repeated warnings about fire safety and health codes, and even now seems to be trying to whine and bluster his way out of blame. He’s making those claims about ‘we’re all a family’ that we’ve heard from other exploiters.
Urban artists explain that the economy and affordable housing shortages force marginalized groups to seek ‘Ghost Ship’ types of often-illegal and nearly always exploitative communal housing. That governments and social groups have to step up to protect those vulnerable communities.
You know what, creative snowflakes? That’s feelgood Obama-era bullshit. You are on your own.
Most cities and states don’t actually care about artists, because most artists are not a lucrative enough tax base to be heard. Cities may make ‘We support the creative class’ noises, but seldom make solid promises or follow-through on safe housing and workspaces. We have a few good examples in AZ, but we also have our share of Arty Slumlords and boom-to-bust art neighborhoods.
Most civic leaders don’t want to encourage ‘alternative’ artists in any genre, because those artists have a bent for critical social commentary. In a Trump America, artists need to acknowledge they are now resistance fighters instead of cash cows. Trump himself, with his rants about comedy shows and Broadway musicals (and his own horrible taste in art!) has shown he doesn’t get that art *should* be able to challenge comfort zones.
In Trump America, there will be fewer regulations facing businesses, so don’t look for help there, either.
Why do we artists gather in cities? More opportunities, and often more safety and self expression than our heartland hometowns…especially now. Even for those of us who previously shied away from activist art. We no longer have that luxury.
The good news is we CAN protect ourselves. We can learn some basic science and safety measures. Make friends with (and pool our resources to PAY) electrical, construction, and plumbing specialists. Up our critical-thinking skills, so we can recognize deathtrap housing and megalomaniac site management when we see it. We can take logical steps to make our live-work spaces as safe as possible.
We need to think like doomsday preppers, and plan to be artists in zombie-apocalypse dystopias, where our survival depends on the choices we make. No one else is going to rescue us.