By Joel Warner
By Michael Roberts
By Alan Prendergast
By Michael Roberts
By Michael Roberts
By Amber Taufen
By Patricia Calhoun
By William Breathes
On the last day of August, in a vast, white wasteland, beneath a blazing, bone-bleaching sun, Jesus did combat with Satan, kung-fu style.
The battle began by chance, at the 2002 Burning Man festival, when a twenty-something man costumed as Jesus crossed paths with a stranger in a Satan suit near the ice-vending tent in Center Camp.
Jesus struck the one-legged "leaping crane" pose made famous in The Karate Kid, then channeled Bruce Lee, unleashing a high-pitched, howling "Keee-yai!"
Seconds later, Christ and the Antichrist exchanged mock blows, kicks, martial-arts-flick sound effects and taunts in the midst of a rapidly encircling crowd.
"Come on, Jesus, admit it," Satan shouted. "You fornicated with that whore, Mary Magdalene, didn't you?"
"That was 2,000 years ago, Lucifer. Will you just give it a goddamned rest?"
Satan looked shocked at such language coming from the Son of God.
"Nice," cried the horned one, twisting into a spinning back kick. "Really fucking spiritual, Jesus."
The biblical combatants were but two of nearly 30,000 souls who traveled deep into the Black Rock Desert of northern Nevada to participate in this year's Burning Man, the festival's thirteenth incarnation and the biggest yet. Subjective in the extreme, the Burning Man experience is tricky to translate into words. It is a huge, countercultural costume ball, a psychedelic playground and a grand experiment in a temporary community with a functional barter economy. It is a test of endurance in a harsh environment and an incomparable showcase of large-scale, mind-bending installation art.
"Explain Burning Man to someone who's never been? Ha! Good luck," says 33-year-old Dave Colberg, a Denver resident who is known at the festival as Amadeus Tonguefingers. "Basically, you build the most remarkable, eccentric, erotic, artistic and inventive city you could ever imagine, and you build it in a week, in a very demanding environment...and then you tear it down and burn it."
Colberg works for a local fabric-restoration company, repairing furniture and clothing damaged by fire. "Oh, the irony," he says -- because among, and perhaps above, everything else, Burning Man is an elaborate occasion to indulge one's inner pyromaniac.
"My first year at Burning Man, we recklessly set fire to our camp offal and created an explosion," says Julie Chase, aka "Uberblonde," 29, who completed her master's thesis on Burning Man at the University of Colorado in May. "We were uninformed and irresponsible, and after decades of good suburban breeding, it was exactly what I needed. I experienced a new kind of collective power in the act of blowing shit up."
Held the week before Labor Day on the perfectly flat, lifeless, cracked-earth hardpan of a dry, prehistoric lake bed roughly 120 miles northeast of Reno, Burning Man's ephemeral city traditionally draws most of its populace from the San Francisco Bay area, which is the nearest major urban center, eight hours away by car. That held true this year as well, although an informal survey of license plates and "So where are you from?" queries at the festival showed that Colorado is running a clear, if distant, second in the home-state category.
"It's quite remarkable how much the regional Colorado Burning Man culture has grown in the last three years," says Chase. "When I first went to Burning Man four years ago, there were very few large-scale theme camps or 'art cars' out of Denver. This year, they were everywhere."
Burning Man's layout has evolved into a massive, 260-degree arc of encampments organized along a grid of streets collectively known as Black Rock City. The city's main promenade leads outward from Center Camp to the festival's namesake, a three-story wooden effigy packed with explosives. Beyond this gigantic matchstick man lies "the playa," the open-desert landscape that Burning Man's installation artists employ as their blank canvas.
A sign planted by some merry prankster way beyond Black Rock City's developed limits reads: "Coming soon, Playa Meadows! Ranch style homes in the mid-300s."
Theme camps and villages make up the hundreds of distinct neighborhoods within Black Rock City. The 2002 lineup included the Hee Bee Gee Bee Healers, a tribe of Burners from Boulder who, in their third year at Burning Man, erected a highly decorative and functional "healing tent." Offered within were free massages, body painting, Tarot readings, reiki energy work and nutrient-loaded "smart drinks."
As in years past, however, by far the most impressive Denver-driven theme village was Disturbia, population about 150, founded in 1998 by Lizard Man, a Boulder space scientist who analyzes particles from other planets for NASA (really), and Teiwaz, a San Francisco dot-commer (now ex-dot-commer). The two met in 1997, when they both attended Burning Man for the first time.
"I was living in Salt Lake City that summer, and I met this guy through the ride board on the Burning Man Web site who said he was driving through from Boulder, so he could pick me up," says Teiwaz, 29. "We hit it off and turned out to be great friends, and as we were leaving the festival that year, we were looking at all the theme villages, and we more or less just said to one another, 'We can do this.'"