Burners Get Bohemian for New Years

Got your New Years plans locked in? It looks like New Bohemia NYE at the Armory is where Bay Area Burners will be gathering to see in 2016. Production crews Opel & Vau de Vire are bringing out a combination of the best Burning Man talent to support like Opulent Temple, Distrikt, Dusty Rhino + Flaming Lotus Girls, Michael Christian, Kinetic Steamworks, the Scumfrog and Stanton Warriors.
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There is no dress code—the sky’s the limit on your creativity. That being said, New Bohemia is a themed NYE party where participants are encouraged to snazz up and get in the spirit of the cross section of worlds we are creating and bringing together inside The Armory. Not a hippy-paisley Bohemia mind you, but more along the lines of the Burning Man playa meets Moulin Rouge.  A kinky, naughty twist is A-OK and encouraged, but, as much as we hate to say it, no outright nudity.
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Sorry, shirt-cockers porky piggers. This is not the party for you.
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If you haven’t seen a Vau de Vire Society show before, you’ve been missing out. This is from last year:
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Here’s what the promoters have to say on Facebook:

New Bohemia NYE 2016 is the 3rd Annual NYE’s event at the iconic Armory. It is, and has always been designed to be a special and co-created destination, bringing together the best of the avant garde and underground creative worlds of the Bay Area. A world like no other. You’re invited to part the velvet red curtains to find an SF twist on those timeless bohemian values of Truth, Beauty, Love and Freedom. Deeper, and higher into this castle find cutting edge sounds, SF’s most dynamic music collectives and the synergy of intentional revelry on the precipice of a new year.

Poets and performers, aerialists and DJ’s, burlesque dancers and live painters, acrobats and absinthe hawkers, Art Cars and visual treats, crimson busts and decadent costumes; are all to be found in different markets, plazas, private upstairs chambers and titillating dark corners and streets inside New Bohemia NYE.

We have amazing music, but we don’t go ‘mega headliners’, because we’re much more interested in creating a community based spectacle of art and talents amongst friends and the amazing people of our circle of friends. And – we wanted to keep the ticket prices accessible for a party this big and offering so much on NYE.
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The curtain is raising again on the show worth getting excited about New Years Eve. Let’s ring it in together.

YES – we’re totally aware of of some of the previous venue kinks (pun intended) around lines, seating options, bathrooms, and security. Trust us that we care A LOT about making sure that even the things we don’t have total control over is 100% right for you on NYE. Our goal is to get you inside as fast as possible and enjoy an evening with friends in a World Like No Other and that everything clicks at a high standard all night. It’s a huge priority and you’ll be able to tell.

Early tier tickets have sold out but there are still some available for $70, and a variety of VIP room packages
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One of the VIP packages lets you take advantage of the Armory’s dual role as head (cough) quarters for kink.com, with your own film set to do with as you see fit…
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What’s a Burner party like without Burning Man? Come along and find out…

The Man Behind The Music

Image: IRDeep via Spin

Image: IRDeep via Spin

Spin magazine has an interview with Opulent Temple founder Syd Gris. Some highlights:

The organizers behind Burning Man deny any affiliations of being a “music festival,” but, for all intents and purposes, this is the wildest music festival in the world.

The denial of their identity as a music festival lets Burning Man rely heavily on crowdsourcing the 24-hour, over-the-top productions, visuals, DJ booths, sound equipment, and world-class music performances to ticket holders…

Attendees being responsible for their own entertainment is exactly what separates Burning Man from any other music festival. You bought the ticket, and have to do all the work. 

Gris is the co-founder, lineup curator, and overall production director for more than 13 years with the sound camp known as Opulent Temple. 

CREDIT: Photo by IRDeep

Opulent’s major objective is twofold: to provide a platform for spiritual dance expression and for DJs to explore the more artistic (and perhaps unacknowledged at other commercial festivals) side of their craft…

 This year, Opulent Temple took a step away from their typical stage build for their popular Wednesday night “White Party.” Instead, they provided attendees a truly magical alternative that captured the true essence of Burning Man by forming a commutative stage consisting of multiple art cars from other camps. The Opulent team set up their DJ stand on top of an art car, outfitted with large speakers, to drive deeper into the open center area of Burning Man. Various cars from other camps outfitted with large speakers met them at a specific location and linked up wirelessly through RF technology to form a makeshift half circle dance floor. While each car was synced directly to the Opulent DJ performance, additional art cars unaffiliated with the camp would drive in and the Opulent workers would link them up to join the party as well.

What was the sound camp scene like when you arrived at your very first Burning Man?
Back in 2001, there were certainly less of them and most every scale of production was downsized compared to current standards of Burning Man sound camps, especially the scale of sound systems. I say that mostly because camps such as “Lush” in 2004 and “Sol System” that same year (fondly known as Sol Henge) were even by today’s sound camp’s standards massive productions, but those were definitely outliers and seemingly burned both crews out because neither ever came back after that year.

Is it true that you fought for the rights of sound camps at Burning Man?
Yes, I organized a bunch of camps in 2008 including representatives from camps like El Circo, the Deep End, Green Gorilla, and others to approach the Burning Man organizers to request some changes and support. The premise was basically that collectively we’ve felt like we give a lot to the event. Which, of course, is fine; it’s why we started creating such camps in the first place. But we hoped we might get more support and resources from the organizers to do what we do since it is our perception the role of the Large Scale Sound & Art Camps had evolved to be an integral part of a large number of attendees experience and reason for coming. What we asked for and what we got for our efforts were different. Spoiler alert: not much!

Did artists like Tiesto find it unique having to purchase their own ticket?
Yes. We are a volunteer and fundraising camp. All the equipment, food, shelter, and electricity comes out of our own pockets, while we all have day jobs outside of Burning Man. He provided a donation to our camp debt after he played for us in 2005, he said, “It’s the only time I’ve paid someone to play for them.”

What did Opulent Temple do to set the standard for today’s music scene at Burning Man?
What we did to raise the bar was really just building on the precedence of the great camps that came before us but taking it to a higher level. We make our own art and the production pieces that make up our camp, and we build new stuff every year to add to our recognizable look. We were the first to have a DJ-operated flame-throwing booth, and the first to consistently bring out an eclectic range of so-called ‘big-name’ DJs, and we did it all year round through volunteers building the camp and making the art.

CREDIT: Photo by IRDeep

What’s the future of the music community of Burning Man? Will the music be too much and eventually take away from the art as it slowly becomes the main attraction?
I think people’s association and experience of Burning Man — unless something drastically changes — is always one of art and music. For now, it is by far primarily dance music. Though it sounds ironic to say, in one light you could say the organization has gone to great lengths to do nothing to support music at Burning Man beyond allowing it to exist. They do a lot to nurture the art scene, so I don’t see it becoming too much.

[Source: Spin]

Read the full interview at Spin Magazine.

Here’s a Syd Gris set from last year’s Halloween.

Daft Punk – Back Once Again

2015 daft punk trash fence

Image: Timothy Stoner | Facebook

Just when you thought that the horse was dead and had been flogged beyond a bare semblance of a carcass…we get Daft Punk. At the trash fence. Burning Man 2015.

Earlier in the year, Burning Man’s “other” Nevada regional featured Daft Punk.

They did a trial run, even writing a guest post on this blog about it…and then decided they needed to do it One More Time.

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At the Burning Man Facebook Group, Burners tried to make sense of it all…

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Image: Vincent King Gutierrez | Facebook

Image: Vincent King Gutierrez | Facebook

https://twitter.com/TheFestivalGuy/status/639687522960961536

#daftpunk finally!!! #burningman

A post shared by Tucker Gumber (@thefestivalguy) on

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Whether it was some dudes in helmets playing a CD, or a cover band, or the real Daft Punk – can we all just agree to move past this “joke” now? It was never funny.